Public screens and participatory public space

Barikin, Amelia, Papastergiadis, Nikos, McQuire, Scott and Yue, Audrey (2014). Public screens and participatory public space. In Larissa Hjorth, Natalie King and Mami Kataoka (Ed.), Art in the Asia-Pacific Intimate Publics (pp. 161-172) New York, NY, USA: Routledge. doi:10.4324/9781315858104

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Author Barikin, Amelia
Papastergiadis, Nikos
McQuire, Scott
Yue, Audrey
Title of chapter Public screens and participatory public space
Title of book Art in the Asia-Pacific Intimate Publics
Place of Publication New York, NY, USA
Publisher Routledge
Publication Year 2014
Sub-type Research book chapter (original research)
DOI 10.4324/9781315858104
Series Routledge Advances in Art and Visual Studies
ISBN 9780415722742
Editor Larissa Hjorth
Natalie King
Mami Kataoka
Chapter number 12
Start page 161
End page 172
Total pages 12
Total chapters 17
Language eng
Formatted Abstract/Summary
As contemporary cities become increasingly media dense environments, it is important to reexamine our understanding of public space and the modes available for transnational exchange. The delimitations of spatial and social relations in urban contexts are now complemented by the new forms of agency enabled by media infrastructure. Although the city becomes a media-architecture complex, public space appears increasingly an event, a space produced through specific performative practices. Large screens offer a strategic site for examining this transformation. Shifting the screen from living room to street also challenges two distinct concepts of the "public sphere": the traditional concept of gathering in the same place, and the contemporary concept of gathering at-a-distance enabled by electronic media.

The aim of this chapter is to examine the ways in which the networking of large public screens can serve as a space for transnational exchange, extending the frontiers of aesthetic and public participation. Focusing on a specific artistic and research collaboration that is being conducted via the networking of public screens in Seoul, South Korea, and Melbourne, Australia, our analysis combines historical detail on the development of public screen media, empirical data analysis from audience response surveys, and theoretical speculation on the emergence of a cosmopolitan imaginary. The classical polis was divided between the oikos, the privacy of the home; the agora, the commercial zone of exchange and a domain for speculative public/private interactions; and the ekklesia, in which the rules of governance and social organization were established. These categories are often blurred by the social and cultural practices of contemporary transnational exchange, requiring new modalities for representation.
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Institutional Status UQ

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Created: Wed, 14 May 2014, 21:22:16 EST by Ms Stormy Wehi on behalf of School of Communication and Arts