Research Question
How Can the Division of the Screen Enhance our Experience of Dimensionality?
Abstract
This essay aims to offer some understanding into the way that we navigate the screen. As a means of offering all kinds of information, often simultaneously, from the daily news to photography and to movies, the screen can be seen as a gateway into other worlds that we may wish to explore. This essay aims to delve into how the dynamics of the screen has evolved as a Graphical User Interface (GUI) and what possibilities it may present us with in the future.
So before we go on to looking at the screen as a dynamic GUI and a means of receiving information, it must be stated that the evolution of the computer screen has come from that of the cinematic screen, and in particular, the split screen technique used in cinema – where multiple items are displayed within the limitations of a singular frame. This visible division of the screen can offer many functions.
Although the split screen differs from the windowing system that we are all now very familiar with, it can be said that their functions can be viewed with similarity – the occupation of space by multiple sets of data, whether this may be text, imagery or film. Considering that we are now living in such a thriving media-rich environment, it can be argued that film and the image now take precedence over text, because it can often offer us more information in a shorter amount of time with less effort made by the user. I therefore feel it necessary to explore some areas of cinema to try and understand how split screen technology can present us with the opportunity to absorb more information, whether it may be complimentary or contrasting, before moving onto the GUI in more detail.
Keywords
The screen; layout; accessibility; navigation; the interface
Taken from Manovich’s The Language of New Media, this passage really encapsulates what this essay strives to explore:
…rather than showing a single image, a computer screen typically displays a number of coexisting windows. Indeed, the coexistence of a number of overlapping windows is a fundamental principle of the modern GUI. No single window completely dominates the viewer’s attention. In this sense, the possibility of simultaneously observing a few images that coexist within one screen can be compared with the phenomenon of zapping – the quick switching of television channels that allows the viewer to follow more than one program. In both instances, the viewer no longer concentrates on a single image. (Some television sets enable a second channel to be watched within a smaller window positioned in the corner of the main screen. Perhaps future TV sets will adopt the window metaphor of a computer.) (Manovic. 2002: p151)
The first observation/opinion I wish to express is that the computer has become (amongst other things) our television set/cinematic screen. We are now accustomed to watching movies and television programs on our desktop, laptop and even smart phones whether they are stored on the device, an external media or streamed via the internet.
So considering this use of division, where did the use of the split screen in cinema come into play? And how has this evolved into what we know today?
It may be argued that the first significant contribution was Dziga Vertov and his renowned contribution to cinema, The Man with the Movie Camera (1929). Possibly considered one of the founders of the composite in cinematic film, Vertov employed the split screen technique that has (among other techniques that he used) now become regarded as key elements in cinematic history and technique. Vertov used it to display different techniques and/or scenarios simultaneously. The film is regarded as experimental, and as such, can be interpreted in many ways. My interpretation of what Vertov was trying to achieve was not so much about the subject matter but to encourage the viewer to see the screen not only as a window into another world, but possibly several windows into several worlds (or emotions or dialogues) all viewed at the same time. By employing the various techniques including double exposure, montage and of course the split screen, Vertov challenged the conventions of cinema, and truly paved the way for filmmakers to expand the screen as a means of delivery.
The Man with the Movie Camera (1929), Directed by Vertov, D. 68 minutes. Image taken from http://www.newmediaart.eu/karBe_IM/karBe_08.jpg (accessed November 30th 2010)
Andy Warhol used the split screen technique in his 1966 film Chelsea Girls, and relied on its potential to deliver the poignancy of his film. Warhol stated that he wished to make a long film, one that was all black on one side, and all white on the other. By this statement, he was referring not only to the aesthetics of the film, but also the content; with the white side portraying the lighter or more innocent aspects of life, and the black side depicting darker aspects of the human psyche. Following the lives of several people that lived at the Chelsea Hotel in New York during the 1960’s, the film encapsulates the split screen, and also alternates between black and white and colour photography. By using this technique the audience are constantly presented with juxtaposition both on an aesthetic and emotional level by its divergent content – yet it can be argued that on some occasions the subject matter is often complemented by its partnering image. Made up of twelve 35 minute shorts, the films are shown in pairs, side-by-side, as if they were occupying one screen divided equally down the middle. Although the projections came from physically different devices, the output was conglomerated into a single frame. What is interesting is that it was left to the projectionist to decide which films were to be presented side-by-side and in which order, and less importantly in the context of this essay, to which soundtrack (the soundtrack consisted of the actual happenings whilst the film was recorded). The production is largely unavailable for home purchase yet I was lucky enough to see part of the original film at the Astrup Fearnley Museum of Modern Art in Oslo, Norway in November 2008.
Stills from Chelsea Girls (1966), Directed by Warhol, A. Image from http://www.hnet.uci.edu/fvc/archive/2007Winter/schedW07_02_chelseagirls.html (accessed November 30th 2010)
Expanding on the split screen occupying a single frame, there are significant artists that have used multiple screens to challenge this same philosophy of multiple ‘windows’ of information simultaneously occupying the same space. The work of Turner Prize finalists Jane and Louise Wilson often comprises of multi screen presentations, delivered as projections or video installations. Considered one of their more recognisable works and submitted for the Turner Prize in 1999, Gamma (1999) is a four screen video projection, filmed at a decommissioned American military in Berkshire. Presented as four floor-to-ceiling projections, the projections are paired and displayed in opposite corners of a room, to be viewed in their groups much like two adjacent pages of a book. It is intention that the two groups are read as different vantage points of the same subject. The film combines a variety of styles included news, documentary, film noir and video and aims to create feelings of tension, oppression and paranoia.
The Korean American artist Paik Nam Jun also experimented with multi screen performances, and is considered by many to be the first video artist. Having pioneered his craft in the 196o’s, Paik’s work aims to question the accepted notions of television and has played a pivotal role in using video for artistic expression. His piece Positive Egg (1993) consists of a live video recording of an egg placed on black cloth that is projected onto a series of television sets. The television sets range in size and the image of the egg is magnified in accordance to the size of the television set, culminating in the biggest set displaying an image of the egg that is so magnified that it appears as abstract, comparable to magnifying glasses that whilst increasing in size, also increase in magnification.
Positive Egg (1993), Paik, N.J. Image from http://www.sfmoma.org/artwork/9062 (accessed November 30th 2010)
Contemporary artist Jamie Shovlin also uses multiple video screens to deliver his piece Hiker Meat. Intended to examine the control a director has over the intended message and/or meaning, the installation is inspired by horror movies of the 1970’s and 80’s. I saw the installation at The Fishmarket Gallery in Northampton in June 2010 (pictured below) and instantly compared this to Manovic’s statement cited earlier on in this essay; it could be considered comparable to zapping through the channels on a television set. Viewing the installation from a centrally located position, I was drawn to a larger television set right in the middle of the piece that displayed a video depicting the outside of a run-down motel, and it was this image that really set the tone of the piece. On the surrounding television screens there were documentaries, news channels and other film types that one would expect to see when flicking through the television channels in a motel room. For me, the installation projected a solitary emotion, one that could be compared to that of occupying a room in the featured motel, as if one was traveling alone, trying to fill a void by zapping through the channels.
Hiker Meat (2010), Shovlin, J. Image from http://goldstreetphoto.blogspot.com/2010/08/hiker-meat-fishmarket-gallery.html (accessed November 30th 2010)
American video artist and photographer Chris Milk recently produced an interactive multimedia video to support the band Arcade Fire’s We Used To Wait. Entitled The Wilderness Downtown (2010), the video was built in the new standard for web development, HTML5 and was designed to demonstrate the potential of Google’s new web browser Chrome and emerging web standards. The project was designed as a music experience for the modern web consumer and incorporates HTML5, Google Maps and an integrated drawing tool, and displays multiple browser windows that occupy different locations the screen, often overlapping and inflicting on each other. The user is invited to enter the postcode of the neighbourhood in which they grew up and the program returns a customized experience for the user; one that is designed to evoke emotions new and old, and to illustrate growth and development – not only in the area but also in the individual.
The Wilderness Downtown (2010), Milk, C. Image from http://sharpdressedbrand.com/web-design/arcade-fire-and-google-chrome-launch-experimental-html5-masterpiece/ (accessed November 30th 2010)
Another piece that successfully employs multiple windows on the same screen is Soft Cinema (2005) by Lev Manovich and Andreas Kratky. Designed to explore the use of software in cinema and aiming to demonstrate the power of media databases, the custom software produces content and composition deciphered by a set of algorithms defined by the authors. Influenced by the work of Piet Mondrian, whose work explored aesthetic balance and composition on the two dimensional plain, the piece employs windows of different shapes and sizes to simultaneously fill the screen, although it must be noted that in this case the windows do not overlap. Manovich explains that the project is also influenced by financial television, where different windows are used to present a multitude of information simultaneously; a technique now commonly employed in our visual culture. The sequences combine visuals and narrative and the program randomly takes sentences from the current story and displays them on the screen. With this rudimentary experiment into software as narrator, Manovich has broken down the screen and questioned it’s function.
Soft Cinema (2005), Manovich, L. Image from http://www.manovich.net/cinema_future/stills_for_web/soft_cinema_1_small.jpg (accessed November 30th 2010)
Franny Armstrong’s The Age of Stupid (2009) stars Pete Postlethwaite as a man in 2055, where the world has become a baron and devastated place due to the effects of climate change, and questions why we did not stop climate change in the past when we had a chance. He looks back through media archives on a computer, using a touch screen interface (pictured below) and as we can see, the interface offers multiple narratives at the same time. The character/user simply touches on one of the smaller images on the screen that is then enlarged for easier consumption without too much hindrance from the other data. Although aesthetically pleasing, the interface does present the user with the ability to select data at will, yet in my opinion it does feel like a barrage of information and the data carries an almost random quality. Through its influence, I have to question the effectiveness of relying on purely visual data without supplying the user with text or narration to support the purpose.
The Age of Stupid (2009), Directed by Armstrong, F. Image screenshot taken from the film.
So now that we have firmly entered into the subject of the screen as a GUI, and more importantly its complexity, how can this be considered as user friendly? Can too many windows be detrimental to our experience? For example, when I am working on the computer, I often find myself using multiple applications (and therefore windows) simultaneously, often leading to confusion and inefficiency in workflow, even though I work over two screens on my personal workstation. So how has the workflow been simplified in order to enhance the experience of the user and increase efficiency? And what tools are on offer to facilitate this efficiency?
Apple’s Expose makes light work of multiple windows open on our desktop at the same time, by allowing us to see all open windows simultaneously or even hide all windows quickly in order for us to see the desktop. Integrated into their OSX operating systems since version 10.3 (released in 2003), these options can be set to activate at the press of a button or by directing the curser to a designated corner of the screen; allowing us to locate a specific target without having to close or minimize all open windows. This is possible by shrinking all windows to fit on the same screen, whilst darkening the rest of the desktop in order not to impose on concentration.
Expose by Apple Inc. (2003) Image taken from http://www.apple.com/macosx/what-is-macosx/expose.html (accessed November 2010)
Apple also provides us with the Spaces interface, a virtual desktop management feature incorporated into their operating systems since 2006. The software allows the user to configure multiple workspaces tailored to their needs and/or work habits. For example, the user can run multiple applications full screen without the workspace becoming too cluttered or full, such as a word processor on one desktop and a web browser on another. In everyday regular workflow without the use of Spaces, it often happens that a user has so many windows open at the same time that it is very difficult to identify the required window efficiently in order to continue working. The software allows the user to jump between the ‘desktops’ or applications running full screen on different ‘spaces‘ and ensures a tidy and efficient workflow. The software also allows a user to run up to sixteen spaces simultaneously. This can be likened to a physical office desk, with books and papers from different projects piled on top of one another; where as if we imagined each project’s paper and books on a separate desk in the same room, allowing the office worker to jump from one desk to another depending on which project she was working on at the time.
Spaces by Apple Inc. (2006) Image from http://www.apple.com/macosx/what-is-macosx/apps-and-utilities.html (accessed November 30th 2010)
Available also is 3D-Desktop (2007) created by GNOME for the Linux platform. 3D-Desktop is an OpenGL program that allows the user to switch virtual desktops much in the same manner as Apple’s Spaces, yet offers this in a seemingly three dimensional environment. Also designed to operate via a pre-programmed gesture, the transition from the working desktop to the full screen 3D environment is described as seamless; in layman’s terms, when the user activates the interface, the current desktop zooms out to the point where we can see the other virtual desktops available for use. The software also does offer several visualization modes, for example a cube where each desktop is displayed on a different façade, or the ability to flick through the desktops using a carrousel system. I found this concept very interesting; the simulation of a three dimensional environment within a two dimensional plain.
3D-Desktop by GNOME (2007). Image from http://www.product-reviews.net/2007/05/23/3d-desktop-on-mandriva-linux-2007-spring-updates-like-metisse-and-beryl/ (accessed November 30th 2010)
To quote Anne Friedberg: ‘the space of the screen is a virtual space, an elsewhere that occupies a new dimension’ (Friedberg 2006: p179).
Currently seen as science fiction, the computer featured in Spielberg’s film The Minority Report (2002), is suggested to soon to become commonplace. Creator John Underkoffler demonstrated his intuitive G-speak point-and-touch and interface-free user environment at the TED conference, Long Beach, California in February 2010. It has to be noted that interfaces designed for use in cinematic entertainment such as this have often become the subject of research projects. In this example, by donning a pair of motion-sensitive gloves, the user is permitted to ‘drive’ the interface purely through gestures made with the hands, and find themselves controlling the device in a truly three dimensional environment; thus taking the screen into a new dimension of navigable space. Underkoffler concluded by suggesting that this is the kind of interface we will receive if we were to buy a computer in the near future.
The Interface featured in The Minority Report (2010), Directed by Spielberg, S. 145 minutes. Image taken from http://trendsupdates.com/10gui-a-whole-new-touch-computing-concept/ (accessed November 30th 2010)
So what we see in this example is that the interface itself seems to be the focus of attention, and the information it supplies is secondary in nature. Could it be said that it is not so much about the content, but more about how we receive the information? Or could it be considered that a three dimensional workspace is easier to navigate? Or is it merely the way that information is presented allows us more access to the information? It has been said of interface design that ‘the goal is to employ properties of real-time information to delight, excite and involve by making the information conveyed more memorable’ (Hohl 2009: p.282).
James Cameron’s Avatar (2009) also features a very interesting three-dimensional interface suggesting the use of holograms, and conjures up images of the hologram video message of Princess Leah in Spielberg’s Star Wars. Designed by Neil Huxley, the interface in Avatar offers 3D environments rendered in incredible detail and offers insight into how we may be communicating with computers in the coming years. The interface suggests that one day, the way in which we use objects in the tangible world could be connected seamlessly to those in the digital, and the ability to use such objects in the future will be second nature – or arguably, first nature, as the way in which we already use them in the physical world will merely be replicated and translated into the digital realm and no further knowledge would be required in order to utilise those objects to their capacity. To expand on this philosophy, in the film we are presented with the avatars of users holding guns in the digital world. When the visual narrative switches to the image of the users in their physical world, they are making the gesture of holding a gun, yet the gun itself is actually missing.
The Interface featured in Avatar (2009), Directed by Cameron, J. 162 minutes. Image from http://jonathanmoore.com/post/441862756/avatar-interface-design-neil-huxley (accessed November 30th 2010)
The holographic interface designed by the New York company Perception and featured in Jon Favreau’s Iron man 2 (2010) plays an important role in the blockbuster movie and presents us with an environment that can be considered completely immersive. Putting the visualization of data at the forefront of the storyline, the interface puts more focus on the design of its form, as opposed to its content. In the film, the user is available to pick up, enlarge and rotate 3D data, utilising gestures that we are already familiar with in the tangible world and making them available for use in the digital world. With interface suggestions such as this being made in the cinema, it could be fair to say that we can expect some exciting things in the world of interface design within the next few years.
The Interface featured in Iron Man 2 (2010), Directed by Favreau, J. 125 minutes. Image from http://prologue.com/media/film/categories/main-titles-special-sequences/projects/iron-man-2/galleries/vfx-montage#iron-man-2 (accessed November 30th 2010)
Conclusion
Developments within technology have allowed the screen to evolve from a two dimensional plain into one that can now be considered as three dimensional; not only from left to right and top to bottom, but now with the added dimension of depth, and the creation of the a new ‘Z’ axis, to compliment the historical ‘X’ and ‘Y’ axis’ of the printed and electronic page. This could have once been compared to what we know as Virtual Reality, where a user navigates an electronic, non-existent three -dimensional spacial environment. Yet with the advancements that have taken place within technology, we can now immerse ourselves within digital environments without the need of the previously necessary headset. It appears that we are already offered immersion in the digital world, and we must use our intuition to navigate it, using a tangible navigable interface that allows navigation in a Virtual Reality space.
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Visual References
3D-Desktop by GNOME (2007). Image from http://www.product-reviews.net/2007/05/23/3d-desktop-on-mandriva-linux-2007-spring-updates-like-metisse-and-beryl/ (accessed November 30th 2010)
Expose by Apple Inc. (2003) Image taken from http://www.apple.com/macosx/what-is-macosx/expose.html (accessed November 2010)
Hiker Meat (2010), Shovlin, J. Image from http://goldstreetphoto.blogspot.com/2010/08/hiker-meat-fishmarket-gallery.html (accessed November 30th 2010)
Positive Egg (1993), Paik, N.J. Image from http://www.sfmoma.org/artwork/9062 (accessed November 30th 2010)
Soft Cinema (2005), Manovic, L. Image from http://www.manovich.net/cinema_future/stills_for_web/soft_cinema_1_small.jpg (accessed November 30th 2010)
Spaces by Apple Inc. (2006) Image from http://www.apple.com/macosx/what-is-macosx/apps-and-utilities.html (accessed November 30th 2010)
Stills from Chelsea Girls (1966), Directed by Warhol, A. Image from http://www.hnet.uci.edu/fvc/archive/2007Winter/schedW07_02_chelseagirls.html (accessed November 30th 2010)
The Age of Stupid (2009), Directed by Armstrong, F. Image screenshot taken from the film.
The Interface featured in Avatar (2009), Directed by Cameron, J. 162 minutes. Image from http://jonathanmoore.com/post/441862756/avatar-interface-design-neil-huxley (accessed November 30th 2010)
The Interface featured in Iron Man 2 (2010), Directed by Favreau, J. 125 minutes. Image from http://prologue.com/media/film/categories/main-titles-special-sequences/projects/iron-man-2/galleries/vfx-montage#iron-man-2 (accessed November 30th 2010)
The Interface featured in The Minority Report (2010), Directed by Spielberg, S. 145 minutes. Image taken from http://trendsupdates.com/10gui-a-whole-new-touch-computing-concept/ (accessed November 30th 2010)
The Man with the Movie Camera (1929), Directed by Vertov, D. 68 minutes. Image taken from http://www.newmediaart.eu/karBe_IM/karBe_08.jpg (accessed November 30th 2010)
The Wilderness Downtown (2010), Milk, C. Image from http://sharpdressedbrand.com/web-design/arcade-fire-and-google-chrome-launch-experimental-html5-masterpiece/ (accessed November 30th 2010)
MA Digital Arts 
