The Screen City festival is a new festival dedicated to the moving image, presented in public spaces, on the city's facades, shop windows and urban venues in Stavanger, Norway. It took place for the first time during October 25th – 27th 2013, with the aim to experiment with the reshaping of public space through Media Art, presenting a program of video art, animation, creative data visualizations, projection mapping and participatory urban media interventions.

The role of the screens and the media devices in contemporary cities: from the "informational city" to a new urban augmented space that I call "Citynet".

Audience interaction with art works, especially in public environments, encourages, is even premised upon, an apprehension of the work where agency is (at least) two-fold and two-way. Interactivity proposes an engagement with a situation that is disruptive of the art work and the relations around it - including those who encounter it and those who may observe such encounters. This paper discusses two interactive projection works, from 1980 and 2001, that each explore how interactive art works in public spaces can be distinctive in reconfiguring the relationships between the key agents - artist, place, viewer and observer.

Display or interaction blindness is a known problem for interactive public displays where passers-by simply ignore or pay little attention to them. While previous research created interventions that tried to address this problem or reported on differences between experiences in the lab and in the real world, little attention has been given to examining different attractors surrounding the interactive public display, i.e., people, artifacts, and stimuli that compete for people's attention in the urban settings and distract them from interacting with public displays.

During the past one and a half decade, a curatorial orientation towards "screen practice" has expanded the moving image and digital art into the public domain, exploring alternative artistic uses of the screen. The emergence of urban LED screens in the late 1990s provided a new venue that allowed for digital art to expand into public space. It also offered a political point of departure, inviting for confrontation with the Spectacle and with the politics and ideology of the screen as a mass communication medium that instrumentalized spectator positions.

The recent revitalisation and reactivation of urban public space has been clearly connected to the emerging phenomenon of a hybrid urban media space, merging the digital sphere and the urban landscape. However the actual materialising outcome seems to be mainly dominated by commercial interests. We need to better understand the options we have, to actively influence the development of our future cities and engage in shaping them. Thus the article illuminates the strong parallels between different urban revitalisation strategies and the growing influence of various new media tools in shaping our lives and surroundings.

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