ARTS
Celebrating the ancient ritual of tea, children try to pour a cup using pulleys (right)
come from context; we try to understand where these pro- jects are going to be, what kind of audience they are going to have, what resources are avail- able and what state of mind people will be in when they encounter our projects.
Have you had any ideas which you haven’t managed to pull off yet? There’s a big jar of them! We laugh, because we always think they are great when we put them in the jar and when you pull them back out, mostly they’re not that great!
Do you and Melissa Mongiat have the skills yourselves to bring a project to fruition? We like to bring in other people too, because it helps, even at the ideas stage. We try to have people who come from different fi elds. For example, we worked with a biology pro- fessor, Luc-Alain Giraldeau, for the 21 Balançoires project [which saw a set of special swings installed in a busy area of Montreal. As the swings move, they play different notes, and when sev-
On the Diffi culty of Serving Tea took place at London’s V&A
eral people swing together they create a piece of music]. His speciality was animal behaviour and sociability. We found there were lots of commonali- ties with what we wanted to do and his research. We were interested in pat- terns of co-operation and how to get humans to co-operate with each other. In this project, the music is the reward they get for co-operating.
Did you achieve your aim of getting people to interact? Yes, people try to work with each other. Two people will be swinging and catch someone else who is walking by and get them to join in. It was amazing to see strangers have conversations.
The Kit Opérette project in Paris sees the public use props to create their own opera
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You are working with the Montreal planetarium on a new project. Tell us more The brief was to create an interactive projection on a façade which is not meant for interactive projection! We are going to invite people to produce patterns of movements of planets and stars, such as the earth spin- ning around the sun. People will move around on a series of platforms where their movement is captured; depend- ing on how they move they will trigger different animations. We will then reproduce the effect of this through video projection, creating the images and visuals as little animations. It should open in the winter and will stay for a minimum of three years.
Read Leisure Management online
leisuremanagement.co.uk/digital
What do you love most about your job at DTLJ? When it’s done! It’s great when you can engage with the public, get them to smile, and forget about the diffi culties in getting there. It’s always amazing to see how they fi nd new ways to work and interact with the project. Also I like getting old and young to play together.
Are there any downsides? We’re always reinventing the wheel.
What are your short and long term ambitions for the company? We want to continue to explore inter- action between people and their surroundings, looking at what expe- riences bring people together and transform the way they live. We also want temporary experimental projects to become permanent interventions. Long term, we are always fasci- nated by the ‘future of’ things, whether they are public places, technologies, schools, hospitals, restaurants, librar- ies... We hope we can explore a large variety of scenarios and locations in which we can engage the public.
What drives you?
The chance to ignite in people a sense of what is possible. The more the impact is transformative – it allows people to do something they wouldn’t have done, to learn, to see things from a new perspective and feel empowered to do more – the more it drives us. ●
ISSUE 3 2013 © cybertrek 2013
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