5. Tag-in-terrasser: WE BELIEVE (Kulmination: samarbejde på tværs af grænser)/ 5. Tag-in-terraces: WE BELIEVE (Culmination: collaborating across borders)
Sted /
Location
Medvirkende /
Participants
Hvad /
What kind
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Date
10-11-2017-
19-11-2017
5. Tag-in-terrasser: WE BELIEVE (Kulmination: samarbejde på tværs af grænser)
We Believe - var et interaktivt lysprojekt der satte fokus på, hvordan vi kan udvikle nye former socialt fællesskab og interaktion i det offentlige rum. Foreningen Skjulte Steder kuraterede den dansk-engelske kunstnerinde Tine Bech, til at udvikle projektet i forhold til temaet Tag-in-terrasser (gentænkt brug af tagterrasser) og ”Playable Cities”.
Tine Bech er tværfaglig kunstner og forsker. Hun er en af de førende kunstnere inden for innovative interaktiv kunst, brugerinddragelse og Playable Cities. Tine Bech er født i Aarhus Danmark, hun bor og arbejder i London.
Læs om Tine Bech
We Believe byggede bro mellem to europæiske lande ved at forbinde to ikoniske Arne Jacobsen bygninger, Aarhus Rådhus i Danmark og Den Danske Ambassade i London.
Fra et kontrolrum på Karolinegårdens tagterrasse i Aarhus var borgerne i stand til at belyse de to bygninger ved at kontrollere individuelle lyssektioner ved hjælp af en række interaktive enheder - drejeknapper, trykknapper og andet og derved skabe en 3D-spilbar struktur, således at de to bygninger var var i dialog når publikum interagerede. Jo flere mennesker der spillede eller legede, jo mere levende fremstod bygningerne.
Et webcam blev sat op ved den danske ambassade, hvilket gjorde det muligt for deltagere og publikum i Aarhus at følge resultatet af deres handlinger på en skærm i kontrolrummet. Når folk i Århus agerede, afspejlede Den Danske Ambassade i London handlingerne i et lys- og farvespil som et fyrtårn, der visualisere europæisk dialog og kultur.
Der er en international tendens til et skift i ejerskabet af byrum fra det offentlige til det private, samtidig med, at der er et øget behov for åbne demokratiske byrum med plads til leg og samvær. Det skaber en konflikt, for hvem skal kontroller de offentlige rum? Er det de private investorer, det kommercielle og reklamerne eller det offentlige og de demokratiske valgte politikere – eller er det borgerne? Byens offentlige rum er helt fundamentalt, der hvor mennesker mødes.
Aarhus Rådhus repræsenterer det folkevalgte bystyre, mens Den Danske Ambassade i London, fungerer som et lands højeste diplomatiske repræsentation i et andet land, hvis opgave det også er, at fremme de gode forbindelser og udvikle de økonomiske, kulturelle og videnskabelige forbindelser mellem udsenderstaten og modtagerstaten. Man kan med en vis portion humor sige, at institutionerne repræsenterer samfundets ”styresystem” – for nu at blive i computersproget, og som We Believe giver folk mulighed for at prikke til og spille med.
Ved at skabe ”adgang” til de to ikoniske danske institutioner gennem interaktiv kunst og byrumsleg, bliver Arne Jacobsens arkitektur ikke kun et symbol på synlighed, men også et redskab, der fornyer vores forestillinger om, hvad kunst kan være, hvad spil kan være, og hvad byrum kan være - og ikke mindst hvordan demokratiske legende byrum kan etableres via interaktiv kunst.
Tine Bech er tværfaglig kunstner og forsker. Hun er en af de førende kunstnere inden for innovative interaktiv kunst, brugerinddragelse og Playable Cities. Tine Bech er født i Aarhus Danmark, hun bor og arbejder i London.
Læs om Tine Bech
WE BELIEVE
We Believe byggede bro mellem to europæiske lande ved at forbinde to ikoniske Arne Jacobsen bygninger, Aarhus Rådhus i Danmark og Den Danske Ambassade i London.
Fra et kontrolrum på Karolinegårdens tagterrasse i Aarhus var borgerne i stand til at belyse de to bygninger ved at kontrollere individuelle lyssektioner ved hjælp af en række interaktive enheder - drejeknapper, trykknapper og andet og derved skabe en 3D-spilbar struktur, således at de to bygninger var var i dialog når publikum interagerede. Jo flere mennesker der spillede eller legede, jo mere levende fremstod bygningerne.
Et webcam blev sat op ved den danske ambassade, hvilket gjorde det muligt for deltagere og publikum i Aarhus at følge resultatet af deres handlinger på en skærm i kontrolrummet. Når folk i Århus agerede, afspejlede Den Danske Ambassade i London handlingerne i et lys- og farvespil som et fyrtårn, der visualisere europæisk dialog og kultur.
TAKNEN BAG WE BELIEVE
We Belive knytter sig til begrebet ”Playable City Projects”. Playable City Projects og ikke mindst We Believe stiller spørgsmål til begreber som demokrati, borgerinddragelse og kontrol af det offentlige rum. Efterhånden som nye teknologier dukker op, opstår der også nye former for kreativ interaktion og samspil, der muliggør, at borgere kan være aktører i byrummet.Der er en international tendens til et skift i ejerskabet af byrum fra det offentlige til det private, samtidig med, at der er et øget behov for åbne demokratiske byrum med plads til leg og samvær. Det skaber en konflikt, for hvem skal kontroller de offentlige rum? Er det de private investorer, det kommercielle og reklamerne eller det offentlige og de demokratiske valgte politikere – eller er det borgerne? Byens offentlige rum er helt fundamentalt, der hvor mennesker mødes.
KONTROLRUM OG MEDBESTEMMELSE
Kontrolrum er ofte mystiske og skjulte steder, der giver udvalgte personer adgang til styresystemer, og hvor det underliggende forbliver en hemmelighed. Kontrolrummet er samtidig en henvisning til computeren, som i stigende grad integreres i vores kommunikation med omverdenen.BYGNINGERNE/SPILLEFLADERNE
Både Aarhus Rådhus og Den Danske Ambassade er tegnet af den verdenskendte, danske Arkitekt Arne Jacobsen, der er en enestående repræsentant for Dansk kultur, arkitektur og design. Det er ikke uden grund at to af hans bygninger er valgt som symbol på synlighed i det urbane rum og som brugerflade for We Believe.Aarhus Rådhus repræsenterer det folkevalgte bystyre, mens Den Danske Ambassade i London, fungerer som et lands højeste diplomatiske repræsentation i et andet land, hvis opgave det også er, at fremme de gode forbindelser og udvikle de økonomiske, kulturelle og videnskabelige forbindelser mellem udsenderstaten og modtagerstaten. Man kan med en vis portion humor sige, at institutionerne repræsenterer samfundets ”styresystem” – for nu at blive i computersproget, og som We Believe giver folk mulighed for at prikke til og spille med.
Ved at skabe ”adgang” til de to ikoniske danske institutioner gennem interaktiv kunst og byrumsleg, bliver Arne Jacobsens arkitektur ikke kun et symbol på synlighed, men også et redskab, der fornyer vores forestillinger om, hvad kunst kan være, hvad spil kan være, og hvad byrum kan være - og ikke mindst hvordan demokratiske legende byrum kan etableres via interaktiv kunst.
5. Tag-in-terraces: WE BELIEVE (Culmination: collaborating across borders)
We Believe - Was an interactive light project that focused on how we can develop new form of social communion, sharing or intercourses and interaction in public spaces.The Danish-English artist Tine Bech was curated by The Association Hidden Places, to develop the project in relation to the theme Tag-in Terraces (rethought use of roof terraces) and focusing on "Playable Cities".
Tine Bech is an interdisciplinary artist and researcher. She is one of the leading artists in the field of innovative interactive art, user involvement and Playable Cities. Tine Bech was born in Aarhus Denmark, she lives and works in London.
Read about Tine Bech
WE BELIEVE
We Believe spanned two cities and two European countries and connected two iconic Arne Jacobsen buildings, Aarhus City Hall Tower in Denmark and The Embassy of Denmark in London.
From a control room on a rooftop at “Karolinegården” in Aarhus the citizens were able to illuminate the surface of the two buildings by controlling individual light sections using a series of interactive devices - turning dials, pressing buttons and more, thereby creating a 3D playable structure, so that the two buildings were involved in a symbolic conversation as the audiences interacted. The more people played, the more alive and vivid the buildings became.
A webcam was placed at the Danish Embassy enabling participants and audiences in Aarhus to follow the interactions on screens in the control room. As people participated in Aarhus, The Royal Danish Embassy in London mirrored the interaction, in a dance of light and colour, becoming a beacon to visualise European dialogue and culture.
THE THOUGHTS BEYOND
Playable City Projects such as We Believe asks questions to concepts such as democracy, citizen involvement and control of the public space. When new technologies emerge, it also creates new creative interaction that enable citizens to act in the urban spaces.
There is an international tendency to a shift in 'ownership' of urban spaces from public to the private. At the same time there is an increased need for open and democratic spaces with options for play and socializing. This creates a conflict: How Public Is Public Space? Who controlls the public spaces and buildings? Is it the private investors, the commercial or the democratically elected politicians - or is it the citizens? The city's public spaces are fundamentally where people meet.
CONTROL ROOM AND CO-DETERMINATION
Control rooms are often mysterious and hidden places that allow selected people to access, monitor and control a system, and where the underlying remains a secret. Control room is at the same time a reference to the computer, which is increasingly integrated into our communication with the outside world.
THE BUILDINGS / PLAY SURFACES
Both Aarhus Town Hall and the Danish Embassy were designed by the world-renowned Danish architect Arne Jacobsen, a unique representative of Danish culture, architecture and design. It is not without reason that two of his buildings are chosen as a symbol of visibility in the urban space and as the interface for We Believe.
Aarhus Town Hall represents the elected city council, while the Danish Embassy in London serves as the country's highest diplomatic representation in another country whose mission is to promote the good relations and develop the economic, cultural and scientific relations between the issuing State and the recipient state.
By creating "access" to the two iconic Danish institutions through interactive art, Arne Jacobsen's architecture is not only a symbol of visibility but also a tool that renews our notions of what art can be what games can be, and what urban spaces can be - and not least how democratic playful urban spaces can be established through interactive art.
Tine Bech is an interdisciplinary artist and researcher. She is one of the leading artists in the field of innovative interactive art, user involvement and Playable Cities. Tine Bech was born in Aarhus Denmark, she lives and works in London.
Read about Tine Bech
WE BELIEVE
We Believe spanned two cities and two European countries and connected two iconic Arne Jacobsen buildings, Aarhus City Hall Tower in Denmark and The Embassy of Denmark in London.
From a control room on a rooftop at “Karolinegården” in Aarhus the citizens were able to illuminate the surface of the two buildings by controlling individual light sections using a series of interactive devices - turning dials, pressing buttons and more, thereby creating a 3D playable structure, so that the two buildings were involved in a symbolic conversation as the audiences interacted. The more people played, the more alive and vivid the buildings became.
A webcam was placed at the Danish Embassy enabling participants and audiences in Aarhus to follow the interactions on screens in the control room. As people participated in Aarhus, The Royal Danish Embassy in London mirrored the interaction, in a dance of light and colour, becoming a beacon to visualise European dialogue and culture.
THE THOUGHTS BEYOND
Playable City Projects such as We Believe asks questions to concepts such as democracy, citizen involvement and control of the public space. When new technologies emerge, it also creates new creative interaction that enable citizens to act in the urban spaces.
There is an international tendency to a shift in 'ownership' of urban spaces from public to the private. At the same time there is an increased need for open and democratic spaces with options for play and socializing. This creates a conflict: How Public Is Public Space? Who controlls the public spaces and buildings? Is it the private investors, the commercial or the democratically elected politicians - or is it the citizens? The city's public spaces are fundamentally where people meet.
CONTROL ROOM AND CO-DETERMINATION
Control rooms are often mysterious and hidden places that allow selected people to access, monitor and control a system, and where the underlying remains a secret. Control room is at the same time a reference to the computer, which is increasingly integrated into our communication with the outside world.
THE BUILDINGS / PLAY SURFACES
Both Aarhus Town Hall and the Danish Embassy were designed by the world-renowned Danish architect Arne Jacobsen, a unique representative of Danish culture, architecture and design. It is not without reason that two of his buildings are chosen as a symbol of visibility in the urban space and as the interface for We Believe.
Aarhus Town Hall represents the elected city council, while the Danish Embassy in London serves as the country's highest diplomatic representation in another country whose mission is to promote the good relations and develop the economic, cultural and scientific relations between the issuing State and the recipient state.
By creating "access" to the two iconic Danish institutions through interactive art, Arne Jacobsen's architecture is not only a symbol of visibility but also a tool that renews our notions of what art can be what games can be, and what urban spaces can be - and not least how democratic playful urban spaces can be established through interactive art.
We Believe 10 - 19 nov. 2017
We Believe - Et interaktivt lysprojekt af kunstner Tine Bech kurateret af Foreningen Skjulte Steder i anledningen af Aarhus 2017 Europæisk Kulturhovedstad
(Film Jakob Lerche).
(Film Jakob Lerche).
We Believe Nov. 10 - 19 2017
We Believe - an Interactive light project by artist Tine Bech Commissioned by The Association Hidden Places in connection to European Capital of Culture 2017
(Film Jakob Lerche)
(Film Jakob Lerche)
Time Lab, We Believe, Aarhus Rådhus
Borgernes leg med lys fra et hemmeligt kontrolrum på en tagterrasse i Aarhus
Time Lab, We Believe, Aarhus Rådhus
Citizens' play with light from a secret control room on a rooftop terrace in Aarhus, Denmark
Time Lab, We Believe, Danmarks Ambassade i London, United Kingdom
Borgernes leg med lys fra et hemmeligt kontrolrum på en tagterrasse i Aarhus
Time Lab, We Believe, Embassy of Denmark in London, United Kingdom
Citizens' play with light from a secret control room on a rooftop terrace in Aarhus, Denmark
5. Tag-in-terrasser: WE BELIEVE (Kulmination: samarbejde på tværs af grænser)
We Believe - var et interaktivt lysprojekt der satte fokus på, hvordan vi kan udvikle nye former socialt fællesskab og interaktion i det offentlige rum. Foreningen Skjulte Steder kuraterede den dansk-engelske kunstnerinde Tine Bech, til at udvikle projektet i forhold til temaet Tag-in-terrasser (gentænkt brug af tagterrasser) og ”Playable Cities”.
Tine Bech er tværfaglig kunstner og forsker. Hun er en af de førende kunstnere inden for innovative interaktiv kunst, brugerinddragelse og Playable Cities. Tine Bech er født i Aarhus Danmark, hun bor og arbejder i London.
Læs om Tine Bech
We Believe byggede bro mellem to europæiske lande ved at forbinde to ikoniske Arne Jacobsen bygninger, Aarhus Rådhus i Danmark og Den Danske Ambassade i London.
Fra et kontrolrum på Karolinegårdens tagterrasse i Aarhus var borgerne i stand til at belyse de to bygninger ved at kontrollere individuelle lyssektioner ved hjælp af en række interaktive enheder - drejeknapper, trykknapper og andet og derved skabe en 3D-spilbar struktur, således at de to bygninger var var i dialog når publikum interagerede. Jo flere mennesker der spillede eller legede, jo mere levende fremstod bygningerne.
Et webcam blev sat op ved den danske ambassade, hvilket gjorde det muligt for deltagere og publikum i Aarhus at følge resultatet af deres handlinger på en skærm i kontrolrummet. Når folk i Århus agerede, afspejlede Den Danske Ambassade i London handlingerne i et lys- og farvespil som et fyrtårn, der visualisere europæisk dialog og kultur.
Der er en international tendens til et skift i ejerskabet af byrum fra det offentlige til det private, samtidig med, at der er et øget behov for åbne demokratiske byrum med plads til leg og samvær. Det skaber en konflikt, for hvem skal kontroller de offentlige rum? Er det de private investorer, det kommercielle og reklamerne eller det offentlige og de demokratiske valgte politikere – eller er det borgerne? Byens offentlige rum er helt fundamentalt, der hvor mennesker mødes.
Aarhus Rådhus repræsenterer det folkevalgte bystyre, mens Den Danske Ambassade i London, fungerer som et lands højeste diplomatiske repræsentation i et andet land, hvis opgave det også er, at fremme de gode forbindelser og udvikle de økonomiske, kulturelle og videnskabelige forbindelser mellem udsenderstaten og modtagerstaten. Man kan med en vis portion humor sige, at institutionerne repræsenterer samfundets ”styresystem” – for nu at blive i computersproget, og som We Believe giver folk mulighed for at prikke til og spille med.
Ved at skabe ”adgang” til de to ikoniske danske institutioner gennem interaktiv kunst og byrumsleg, bliver Arne Jacobsens arkitektur ikke kun et symbol på synlighed, men også et redskab, der fornyer vores forestillinger om, hvad kunst kan være, hvad spil kan være, og hvad byrum kan være - og ikke mindst hvordan demokratiske legende byrum kan etableres via interaktiv kunst.
Tine Bech er tværfaglig kunstner og forsker. Hun er en af de førende kunstnere inden for innovative interaktiv kunst, brugerinddragelse og Playable Cities. Tine Bech er født i Aarhus Danmark, hun bor og arbejder i London.
Læs om Tine Bech
WE BELIEVE
We Believe byggede bro mellem to europæiske lande ved at forbinde to ikoniske Arne Jacobsen bygninger, Aarhus Rådhus i Danmark og Den Danske Ambassade i London.
Fra et kontrolrum på Karolinegårdens tagterrasse i Aarhus var borgerne i stand til at belyse de to bygninger ved at kontrollere individuelle lyssektioner ved hjælp af en række interaktive enheder - drejeknapper, trykknapper og andet og derved skabe en 3D-spilbar struktur, således at de to bygninger var var i dialog når publikum interagerede. Jo flere mennesker der spillede eller legede, jo mere levende fremstod bygningerne.
Et webcam blev sat op ved den danske ambassade, hvilket gjorde det muligt for deltagere og publikum i Aarhus at følge resultatet af deres handlinger på en skærm i kontrolrummet. Når folk i Århus agerede, afspejlede Den Danske Ambassade i London handlingerne i et lys- og farvespil som et fyrtårn, der visualisere europæisk dialog og kultur.
TAKNEN BAG WE BELIEVE
We Belive knytter sig til begrebet ”Playable City Projects”. Playable City Projects og ikke mindst We Believe stiller spørgsmål til begreber som demokrati, borgerinddragelse og kontrol af det offentlige rum. Efterhånden som nye teknologier dukker op, opstår der også nye former for kreativ interaktion og samspil, der muliggør, at borgere kan være aktører i byrummet.Der er en international tendens til et skift i ejerskabet af byrum fra det offentlige til det private, samtidig med, at der er et øget behov for åbne demokratiske byrum med plads til leg og samvær. Det skaber en konflikt, for hvem skal kontroller de offentlige rum? Er det de private investorer, det kommercielle og reklamerne eller det offentlige og de demokratiske valgte politikere – eller er det borgerne? Byens offentlige rum er helt fundamentalt, der hvor mennesker mødes.
KONTROLRUM OG MEDBESTEMMELSE
Kontrolrum er ofte mystiske og skjulte steder, der giver udvalgte personer adgang til styresystemer, og hvor det underliggende forbliver en hemmelighed. Kontrolrummet er samtidig en henvisning til computeren, som i stigende grad integreres i vores kommunikation med omverdenen.BYGNINGERNE/SPILLEFLADERNE
Både Aarhus Rådhus og Den Danske Ambassade er tegnet af den verdenskendte, danske Arkitekt Arne Jacobsen, der er en enestående repræsentant for Dansk kultur, arkitektur og design. Det er ikke uden grund at to af hans bygninger er valgt som symbol på synlighed i det urbane rum og som brugerflade for We Believe.Aarhus Rådhus repræsenterer det folkevalgte bystyre, mens Den Danske Ambassade i London, fungerer som et lands højeste diplomatiske repræsentation i et andet land, hvis opgave det også er, at fremme de gode forbindelser og udvikle de økonomiske, kulturelle og videnskabelige forbindelser mellem udsenderstaten og modtagerstaten. Man kan med en vis portion humor sige, at institutionerne repræsenterer samfundets ”styresystem” – for nu at blive i computersproget, og som We Believe giver folk mulighed for at prikke til og spille med.
Ved at skabe ”adgang” til de to ikoniske danske institutioner gennem interaktiv kunst og byrumsleg, bliver Arne Jacobsens arkitektur ikke kun et symbol på synlighed, men også et redskab, der fornyer vores forestillinger om, hvad kunst kan være, hvad spil kan være, og hvad byrum kan være - og ikke mindst hvordan demokratiske legende byrum kan etableres via interaktiv kunst.
5. Tag-in-terraces: WE BELIEVE (Culmination: collaborating across borders)
We Believe - Was an interactive light project that focused on how we can develop new form of social communion, sharing or intercourses and interaction in public spaces.The Danish-English artist Tine Bech was curated by The Association Hidden Places, to develop the project in relation to the theme Tag-in Terraces (rethought use of roof terraces) and focusing on "Playable Cities".
Tine Bech is an interdisciplinary artist and researcher. She is one of the leading artists in the field of innovative interactive art, user involvement and Playable Cities. Tine Bech was born in Aarhus Denmark, she lives and works in London.
Read about Tine Bech
WE BELIEVE
We Believe spanned two cities and two European countries and connected two iconic Arne Jacobsen buildings, Aarhus City Hall Tower in Denmark and The Embassy of Denmark in London.
From a control room on a rooftop at “Karolinegården” in Aarhus the citizens were able to illuminate the surface of the two buildings by controlling individual light sections using a series of interactive devices - turning dials, pressing buttons and more, thereby creating a 3D playable structure, so that the two buildings were involved in a symbolic conversation as the audiences interacted. The more people played, the more alive and vivid the buildings became.
A webcam was placed at the Danish Embassy enabling participants and audiences in Aarhus to follow the interactions on screens in the control room. As people participated in Aarhus, The Royal Danish Embassy in London mirrored the interaction, in a dance of light and colour, becoming a beacon to visualise European dialogue and culture.
THE THOUGHTS BEYOND
Playable City Projects such as We Believe asks questions to concepts such as democracy, citizen involvement and control of the public space. When new technologies emerge, it also creates new creative interaction that enable citizens to act in the urban spaces.
There is an international tendency to a shift in 'ownership' of urban spaces from public to the private. At the same time there is an increased need for open and democratic spaces with options for play and socializing. This creates a conflict: How Public Is Public Space? Who controlls the public spaces and buildings? Is it the private investors, the commercial or the democratically elected politicians - or is it the citizens? The city's public spaces are fundamentally where people meet.
CONTROL ROOM AND CO-DETERMINATION
Control rooms are often mysterious and hidden places that allow selected people to access, monitor and control a system, and where the underlying remains a secret. Control room is at the same time a reference to the computer, which is increasingly integrated into our communication with the outside world.
THE BUILDINGS / PLAY SURFACES
Both Aarhus Town Hall and the Danish Embassy were designed by the world-renowned Danish architect Arne Jacobsen, a unique representative of Danish culture, architecture and design. It is not without reason that two of his buildings are chosen as a symbol of visibility in the urban space and as the interface for We Believe.
Aarhus Town Hall represents the elected city council, while the Danish Embassy in London serves as the country's highest diplomatic representation in another country whose mission is to promote the good relations and develop the economic, cultural and scientific relations between the issuing State and the recipient state.
By creating "access" to the two iconic Danish institutions through interactive art, Arne Jacobsen's architecture is not only a symbol of visibility but also a tool that renews our notions of what art can be what games can be, and what urban spaces can be - and not least how democratic playful urban spaces can be established through interactive art.
Tine Bech is an interdisciplinary artist and researcher. She is one of the leading artists in the field of innovative interactive art, user involvement and Playable Cities. Tine Bech was born in Aarhus Denmark, she lives and works in London.
Read about Tine Bech
WE BELIEVE
We Believe spanned two cities and two European countries and connected two iconic Arne Jacobsen buildings, Aarhus City Hall Tower in Denmark and The Embassy of Denmark in London.
From a control room on a rooftop at “Karolinegården” in Aarhus the citizens were able to illuminate the surface of the two buildings by controlling individual light sections using a series of interactive devices - turning dials, pressing buttons and more, thereby creating a 3D playable structure, so that the two buildings were involved in a symbolic conversation as the audiences interacted. The more people played, the more alive and vivid the buildings became.
A webcam was placed at the Danish Embassy enabling participants and audiences in Aarhus to follow the interactions on screens in the control room. As people participated in Aarhus, The Royal Danish Embassy in London mirrored the interaction, in a dance of light and colour, becoming a beacon to visualise European dialogue and culture.
THE THOUGHTS BEYOND
Playable City Projects such as We Believe asks questions to concepts such as democracy, citizen involvement and control of the public space. When new technologies emerge, it also creates new creative interaction that enable citizens to act in the urban spaces.
There is an international tendency to a shift in 'ownership' of urban spaces from public to the private. At the same time there is an increased need for open and democratic spaces with options for play and socializing. This creates a conflict: How Public Is Public Space? Who controlls the public spaces and buildings? Is it the private investors, the commercial or the democratically elected politicians - or is it the citizens? The city's public spaces are fundamentally where people meet.
CONTROL ROOM AND CO-DETERMINATION
Control rooms are often mysterious and hidden places that allow selected people to access, monitor and control a system, and where the underlying remains a secret. Control room is at the same time a reference to the computer, which is increasingly integrated into our communication with the outside world.
THE BUILDINGS / PLAY SURFACES
Both Aarhus Town Hall and the Danish Embassy were designed by the world-renowned Danish architect Arne Jacobsen, a unique representative of Danish culture, architecture and design. It is not without reason that two of his buildings are chosen as a symbol of visibility in the urban space and as the interface for We Believe.
Aarhus Town Hall represents the elected city council, while the Danish Embassy in London serves as the country's highest diplomatic representation in another country whose mission is to promote the good relations and develop the economic, cultural and scientific relations between the issuing State and the recipient state.
By creating "access" to the two iconic Danish institutions through interactive art, Arne Jacobsen's architecture is not only a symbol of visibility but also a tool that renews our notions of what art can be what games can be, and what urban spaces can be - and not least how democratic playful urban spaces can be established through interactive art.
