Museums in the Organic WebMuseums in the Organic Web

Cristiano Agostino, PhDCristiano Agostino, PhDTwitter: Montanari02Twitter: Montanari02

theothermuseums.blogspot.ittheothermuseums.blogspot.it

The 'Organic' Web: an Enduring MetaphorThe 'Organic' Web: an Enduring Metaphor

Finds its roots in Web 2.0 notions of 'collective Finds its roots in Web 2.0 notions of 'collective intelligence' and empowered agency: the fleshy body intelligence' and empowered agency: the fleshy body and its peculiar, non-machinic interactions fed back and its peculiar, non-machinic interactions fed back into the digital.into the digital.

Continues with the Semantic Web and the Internet of Continues with the Semantic Web and the Internet of Things: the inanimate becomes animate and 'alive' by Things: the inanimate becomes animate and 'alive' by empowerment through technology.empowerment through technology.

Powerful metaphor: closes the gap between us and Powerful metaphor: closes the gap between us and technology, appeals to our increasingly affective technology, appeals to our increasingly affective labour context.labour context.

Complex ancillary lexicon.Complex ancillary lexicon.

The 'Organic' Museum and the WebThe 'Organic' Museum and the Web

In parallel with the Web and technology at large, the In parallel with the Web and technology at large, the museum (as a technology) has also moved toward the museum (as a technology) has also moved toward the 'organic': metaphorically and, in some ways, 'organic': metaphorically and, in some ways, physically. physically.

Finding ways to enhance the publics' sensuous, haptic Finding ways to enhance the publics' sensuous, haptic and proprioceptic affordances, both through technology and proprioceptic affordances, both through technology and practice.and practice.

One difficulty: the user is, usually detached or remote One difficulty: the user is, usually detached or remote in relation to the artwork. The Web has potentially in relation to the artwork. The Web has potentially widened this 'distance'.widened this 'distance'.

A Question of InterfacesA Question of Interfaces

The organic still need a degree of being there, of The organic still need a degree of being there, of experiencing something as a being that is apprehended experiencing something as a being that is apprehended through the senses – websites and even VR do not satisfy.through the senses – websites and even VR do not satisfy.

Most, if not all museums don't have the platforms and Most, if not all museums don't have the platforms and interfaces that allow for sensuous remote telepresence. interfaces that allow for sensuous remote telepresence.

The materiality of the 'organic' can only be approximated, The materiality of the 'organic' can only be approximated, especially on the user's own perceptual 'side'. Most VR especially on the user's own perceptual 'side'. Most VR does not accurately reproduce the proprioceptic experience does not accurately reproduce the proprioceptic experience of flow and immersion. Limited emotional telepresence.of flow and immersion. Limited emotional telepresence.

Experiments in Museum TelepresenceExperiments in Museum Telepresence

Museum by remote telepresence, experienced through Museum by remote telepresence, experienced through the eyes and body of a robot (the eyes and body of a robot (TOURBOT project; TOURBOT project; Roussou et al, 2001; Agah et al, 1997; Grishin Robotics Roussou et al, 2001; Agah et al, 1997; Grishin Robotics & Double Robotics, 2012& Double Robotics, 2012): High degree of visual ): High degree of visual experience, but very little sensuous, haptic and experience, but very little sensuous, haptic and proprioceptic input. proprioceptic input.

VR tours through peripherics (too many to cite!): VR tours through peripherics (too many to cite!): higher haptic and proprioceptic flow and higher haptic and proprioceptic flow and immersion, but there is no actual 'body' on the immersion, but there is no actual 'body' on the other side. Less material than a robot, but more other side. Less material than a robot, but more 'organic' in the way it is apprehended sensuously.'organic' in the way it is apprehended sensuously.

Grishin Robotics and DoubleRobotics's iPad Bot. Museum virtual visits through Oculus Rift

Another Way(?): Touch Screens and Manipulable Another Way(?): Touch Screens and Manipulable PlatformsPlatforms

Screens might not seem to be 'organic' in the truest Screens might not seem to be 'organic' in the truest sense of the word; yet, at times they blur the line sense of the word; yet, at times they blur the line between oculocentric, detached perception; and haptic, between oculocentric, detached perception; and haptic, proprioteptically embodied modes of apprehending.proprioteptically embodied modes of apprehending.

Quasi-touchscreens: interfaces that borrow the Quasi-touchscreens: interfaces that borrow the aesthetics and 'proprioceptic flow' of the touch screen aesthetics and 'proprioceptic flow' of the touch screen proper in order to generate immersion and more organic-proper in order to generate immersion and more organic-like, less machinic sensuous experiences. like, less machinic sensuous experiences.

Different according to layers of interface: physical / Different according to layers of interface: physical / digital / experiential.digital / experiential.

One Example: Google Art Project

Not spaces and objects...

… but beings! (Kim, 2001)