Translating Art Installation into ICT: Lessons Learned from an Experience at Workspace

Another difference between before I die and Wish Board, as shown in Figure 2 is that people can personalize the information chosen for the color, which is how to convert the color choke. It is not a blackboard or a wall. WishBoard: a) Message (Chalk and Phone); b) Personalized Messages (Chalk and Font); c) Reading Messages (Blackboard and Public Screen). According to Farnham et al.

This is a lesson I have researched over and over again to celebrate the 20 year old MSF art installation in Kibera. From the beginning, we faced many restrictions. There is plan A, it becomes plan B, then plan C, D, E, etc. First of all, it is a sculpture of mother and child beads, but it is difficult to find an outdoor place where everyone can see it. Then there were 200 cement bricks painted with "invisible paint" spreading in Kibera (and later later), but Kibera has limited space. It's a mural, but this is just a backup plan, and we are waiting for the idea of ​​"perfection"

With many different formats and styles, the appearance of installation artists has changed the aspect of art. The art of installation includes the composition of objects installed in space, providing a unified experience that more and more post-modern artists practice. Most are temporary, the art of installation attracts the audience, attracts them in many ways and makes them part of the art. In this way, art becomes what you touch, hear, feel, or smell. Often in association with discovered things and conceptual art, the earliest form of this avant-garde movement was called the environment. It was founded in 1957 by American artist Alan Kapro.

The history and practice of installation · art is a mixture of minimalism, conceptual art, soft architecture, land specificity, art of land and environment, video, performance, and feminist art. Installation work includes aspects of hearing, space, vision, and environment. It arises from the collapse of work autonomy, moderate specificity, and the feelings of eternal and inert substances. In this course, we will try to answer a few questions about the nature of the installation. How to contextualize and redefine it by placing it in larger social, political and economic implications. Why is installation art interested in participation by spectators? What is the essence of this participation? Does it intersect with the performing arts and sculptures? How do immersive devices change the sensory experience of working in our body rather than looking at it?