Mæve and the Performance of Interaction Design

The intersection of architecture, digital media, and interaction design is a fertile ground for critical inquiry, as demonstrated by the case of mæve. Mæve is an interactive table designed for exploring architectural projects through a database of images and texts. In this blog post, we will explore two critical perspectives on mæve: a genre-based analysis and a performance studies approach.

First, we will examine mæve from a genre-based perspective, focusing on its resemblance to the apparatus of film, specifically the science fiction film "Minority Report." Mæve's use of projection screens duplicates the table's visual fields and vastly expands the space for a potential audience. This invites the user to perform publicly, rather than work alone at a screen where the user may be the only one who can see the results. The configuration of the table and screen resembles the apparatus of film, which immerses the viewer in a dreamlike and even infantile state. In turn, mæve imposes subjectivity on its users, positioning them as if they were in its past and needed to catch up. To use mæve is to be onstage, and one's interactions on the table are projected on an even larger screen placed on a wall. Thus, mæve amplifies the perceptual domination of the movie theater with a cognitive one, turning a private practice into a public performance.

Secondly, we will explore mæve from a performance studies approach, emphasizing the interaction between or among people, not just between user and application. Mæve invites the user to perform publicly, casting the user in the role of performer, similar to a performer of a musical instrument. Even if only one user is doing a search, the actions are widely visible, and the user's performance of mæve constitutes an act of self-expression. Whether we try to generate beautiful patterns on it or seek to explore similarities in the use of materials across multiple designers, it says something about us and establishes a certain relationship to the audience. This relationship, in turn, will lead to behaviors such as avoidance, conversation starting, attempting to take control of the table, and so on.

Moreover, the way designers build the hypothetical user into their designs and how that hypothetical user is "made visible" in the design itself is an important critical strategy. Mæve assumes that users are interested in architecture and have a certain level of knowledge and literacy with computer-mediated information seeking and science fiction's visual languages. Thus, mæve constructs its users in a specific way, which is built into the resulting design.

In conclusion, the critical inquiry into mæve reveals the complex interplay between architecture, digital media, and interaction design. Mæve's resemblance to the apparatus of film and its performance aspects highlight the importance of understanding the relationship between user and application, as well as the interactions between or among people in a social and tangible digital media era. Moreover, the way designers construct the hypothetical user into their designs and how that hypothetical user is "made visible" in the design itself has significant implications for how we approach interaction design. Overall, mæve offers a fascinating case study for exploring the intersection of these fields and underscores the need for critical inquiry in the design of digital media and interactive systems.