Interface Criticism by Design

How the interface has moved from the PC into cultural platforms, as seen in a series of works of net art, software art and electronic literature. The computer interface is both omnipresent and invisible, at once embedded in everyday objects and characterized by hidden exchanges of information betwee...

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Published inThe Metainterface
Main Authors Andersen, Christian Ulrik, Pold, Søren Bro
Format Book Chapter
LanguageEnglish
Published United States The MIT Press 27.04.2018
MIT Press
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Abstract How the interface has moved from the PC into cultural platforms, as seen in a series of works of net art, software art and electronic literature. The computer interface is both omnipresent and invisible, at once embedded in everyday objects and characterized by hidden exchanges of information between objects. The interface has moved from office into culture, with devices, apps, the cloud, and data streams as new cultural platforms. In The Metainterface, Christian Ulrik Andersen and Søren Bro Pold examine the relationships between art and interfaces, tracing the interface's disruption of everyday cultural practices. They present a new interface paradigm of cloud services, smartphones, and data capture, and examine how particular art forms—including net art, software art, and electronic literature—seek to reflect and explore this paradigm. Andersen and Pold argue that despite attempts to make the interface disappear into smooth access and smart interaction, it gradually resurfaces; there is a metainterface to the displaced interface. Art can help us see this; the interface can be an important outlet for aesthetic critique. Andersen and Pold describe the “semantic capitalism” of a metainterface industry that captures user behavior; the metainterface industry's disruption of everyday urban life, changing how the city is read, inhabited, and organized; the ways that the material displacement of the cloud affects the experience of the interface; and the potential of designing with an awareness of the language and grammar of interfaces.
AbstractList How the interface has moved from the PC into cultural platforms, as seen in a series of works of net art, software art and electronic literature. The computer interface is both omnipresent and invisible, at once embedded in everyday objects and characterized by hidden exchanges of information between objects. The interface has moved from office into culture, with devices, apps, the cloud, and data streams as new cultural platforms. In The Metainterface, Christian Ulrik Andersen and Søren Bro Pold examine the relationships between art and interfaces, tracing the interface's disruption of everyday cultural practices. They present a new interface paradigm of cloud services, smartphones, and data capture, and examine how particular art forms—including net art, software art, and electronic literature—seek to reflect and explore this paradigm. Andersen and Pold argue that despite attempts to make the interface disappear into smooth access and smart interaction, it gradually resurfaces; there is a metainterface to the displaced interface. Art can help us see this; the interface can be an important outlet for aesthetic critique. Andersen and Pold describe the “semantic capitalism” of a metainterface industry that captures user behavior; the metainterface industry's disruption of everyday urban life, changing how the city is read, inhabited, and organized; the ways that the material displacement of the cloud affects the experience of the interface; and the potential of designing with an awareness of the language and grammar of interfaces.
Author Andersen, Christian Ulrik
Pold, Søren Bro
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Snippet How the interface has moved from the PC into cultural platforms, as seen in a series of works of net art, software art and electronic literature. The computer...
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SubjectTerms Art History
Arts
Computer Science
Contemporary Art
Design
Digital Humanities & New Media
Human Computer Interaction
Interactive Design
New Media Art
Title Interface Criticism by Design
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