Tablet Display Experiments

by Beauchamp Art

Experiments with displaying images using the interactive form of the Tablet computer.


As a quick test of a different means of displaying my work, I tired having the images on a computer tablet, connected to the Flickr page that hosted the files. This could be browsed through by hand at will, going back and forth through the pictures, seeing them as part of a set as connected with other works and the wider net. I began by viewing one of the Cultivating films, however the moving image format is already dynamic in the progression, and the sustained interaction of the audience is made possible by the movement of images in a way that imitates the visual perception, though featuring and abstract subject.



Though it could be interesting to try showing multiple (possibly short) films as one piece on a tablet, which the user to navigate through, I felt that the questioning of the media and digital media was covered effectively in that particular piece. As I had recently been writing about the HCI (Hand Of/Paw Prints) photographs and the possibly ways of displaying them in a more interesting way than simply printed or shown on a standard computer screen, then it would be fitting to see how they would function on the tablet. However, it was difficult to document this experimentation as I was using the borrowed tablets in a public space (the Virgin Lounge), I had to take the photos using my phone camera rather than the DSLR, taking pictures directly from my point-of-view perspective, directly engaging with the tablet screen.



Nevertheless, this gave me the opportunity to play with offsetting the GUI hand-point of the rephotographed images with my own hand, thereby conjuring up ideas surrounding interface; and the interaction between the digital interface and organic body; extending one’s arm through Alberti’s window. It would be good to try this again more formally, possibly involving multiple tablets and users (with explicit permission from the venue, as acquiring such a large number of device so as to constitute any form of exhibition may otherwise be somewhat expensive). As the tablet speaks to an even more current contemporary than the Television screen that may seem to be becoming dated; even HD screens are now firmly established. Whereas the home television serves as more of a home-cinematic experience than the comparably small screens of 20 years ago; along side of higher resolution home-media and online video streaming services, like Netflix, Lovefilm, or even YouTube.


There seems little purpose in speaking to a historical audience when the current populous can be aware of the presidents of the past as well as the current, simultaneously progressing, rather than retrogressing. As the touch-screen becomes more commonplace in a bid to aid the transparency of the media and the illusion of immediacy, it must be address before it descends into banality and another panel in the wall in the “era of screen based image overabundance and ephemerality.” [Ritchin, 2013: 49] The tablet’s two-way interactivity and gaze (as each device is equipped with a camera facing the user) could also be seen as another step towards science-fiction dystopia; between the immaterial augmented reality holograms of Spielberg’s adaptation of Philip K. Dick’s Minority Report (2002) and the unblinking eyes of the Telescreen in George Orwell’s 1984 [1949].



  • Ritchen, Fred. (2013) Bending the Frame: Photojournalism, Documentary, and the Citizen. 1st Edition. Aperture. (UK)
  • Orwell, George (1949). Nineteen Eighty-Four. Penguin Books, Limited (UK).
  • Spielberg, Stephen. (2002) Minority Report. (Film) 20th Century Fox. Pro: Molen, Gerald R. (USA)