MEDIA DIGITAL ART AND CULTURE IN FLANDERS BELGIUM - BAM

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esearches the design processes of play and games in the current societal context. Both Social Spaces and Play work in close collaboration with the social and the cultural field as well as with scientific labs and small and big companies engaged in the development of serious games, alternative media interfaces and mobile applications. The engineering school Group T also has an research group investigating games. This research is primarily conducted from an engineering perspective, but occasionally also gathers designers and artists in their projects. Besides the recently started artistic research institutes, networks like Crosstalks, Arteconomy and Flanders District of Creativity try to make the link between arts and industry. They specialise in building bridges with the industry, bringing creative and critical actors into companies and large organisations in order to innovate their practice. T O C O N C L U D E : I M A G I N I N G O T H E R P O S S I B L E W O R L D S It seems that the expertise of media artists in Belgium has been finding its way in a large number of art and science and art and industry collaborations. Although things are starting to change, the art of mediating or media art is still an underexposed field. Hiding in the border area between people, disciplines and domains, it takes many forms and is present in many contexts and many actors still consider the cross-over between art, science, technology and industry as time-consuming, odd or utopian. The advantage then of all this is that there is still much to discover. We find that media artists explicitly perform (and dramatise) the art of mediating. Several methods are implicitly and explicitly used to – at the same time – bridge and stress differences between people, disciplines or domains. This essay zoomed in on media artistic methods such as creating risky things, introducing fiction in order to critically probe technology and networks, appropriative or participatory activities in artistic, academic and commercial environments. Here, the difference between actors is used as a method to produce different media: no standardised, slick, transparent or efficient interfaces, but things with a risky character, imagining other possible worlds. This approach to media can enrich and probe the broader media field in an important way. Therefore it is important that a continuous effort is made to apply the art of mediating in different contexts, domains and disciplines. 2 9
L I E S B E T H H U Y B R E C H T S (1979) is research coordinator of www.socialspaces. be, a project about the social potential of art, design and new media, at the Media, Arts & Design Faculty at the academy of Genk. At this institute, she is also engaged in the Master program Communication and MultimediaDesign (c-md). Liesbeth Huybrechts is currently conducting a PhD research about the critical use of new media in participatory design and art at the University of Leuven. She is a writer and a curator and works freelance as an editor for the Flemish e-culture blog. With many thanks to Jan Baetens and Fred Truyen. L I T E R A T U R E Bowen, S. J. (March 2009). A Critical Artefact Methodology: Using Provocative Conceptual Designs to Foster Human-centred Innovation. Phd thesis Sheffield Hallam University for the degree of Doctor of Philosophy. De Certeau, M., 1988. The Practice of Everyday Life. University of California Press, California. Garcia, D. & Lovink, G. (30.6.98). The ABC of Tactical Media. http://project.waag.org/tmn/ frabc.html Latour, B. (2005). Reassembling the Social: An Introduction to Actor-Network-Theory (Clarendon Lectures in Management Studies) (Hardcover). USA: Oxford University Press. Tuan, Y-F. (1977). Space and Place, The Perspective of Experience. Minneapolis: University Of Minnesota Press. Muller, M. J, (2003): Participatory Design: The third Space in HCI. Available at: http://domino. research.ibm.com/cambridge/research.nsf/2b4f 81291401771785256976004a8d13/5 6844f3de38 f806285256aaf005a45ab?OpenDocument. Noah Wardrip-Fruin, Pat Harrigan. First person: new media as story, performance, and game. Massachusetts. The MIT Press; illustrated edition edition (January 1, 2004). 3 0 Raley, R. (2009). Tactical Media (Electronic Mediations). Minneapolis: University Of Minnesota Press. Zijlstra, T., 2006. Social object. Available at: http://www.zylstra.org/blog/archives/2006/07/ social_software.html. I N T E R V I E W S Huybrechts, L., 2007. Art, Technology and daily life, Face-to-face interview with Gert Aertsen (Code 31), Pieter Heremans (L45) , Olivier Meunier (ogeem), Annemie Maes (so-on), Brussels, Koolmijnenkaai 30/34, 1080 Brussels, Belgium, 27 December 2007, 16u. Huybrechts, L., 2007. Art, Technology and daily life, e-mail to Maja Kuzmanovic FoAM, 21 December 2007 . De Bisschop, K. Machils, P. Laureyssens, T., 2009. Living Spaces. Constant vzw., Brussels, Belgium, December 2009. Huybrechts, L. & Machils, P., 2009. Cross-Over Methods and Tools. Mapping session with Dries de Roeck, Tom Heene, Pieter Heremans, Lieven Menschaert, Lionel Maes and Olivier Meunier, 18 December 2009. Huybrechts, L. & Machils, P., 2009. Cross-over Methods and Tools. Mapping session with Dries de Roeck, Laurence Claeys, Johan Criel, Markan Geerts and Marc Godon.
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