Some of the more enjoyable surfaces (for example, the grain of a fine mahogany table top or a Japanese sword) have an interplay between pattern and texture which, though two-dimensional, suggests the unseen internal three-dimensional array.
As we draw closer, we see that the three-faceted planes of the museum are fabricated out of rectangular panels made of white bronze that was poured directly into dammed forms on the concrete floor of the foundry, producing a surface texture similar to both metal and stone.
I’m now more inclined to attribute Looseleaf’s power to its visual texture than to some cognitive media-style abstraction. And the visual texture owes more to the beauty (yes, beauty!) of the original pdfs from the Vasulka Archive. Perhaps the demo is best understood not as a prototype generic tool, but as a specific curated experience in its own right, with form and content claiming equal importance in its overall success.
Even so, I think there are some general lessons that can be drawn from this demo:
Content is not inert
Visual texture lets content breathe
Visual texture lets the eye wander without losing itself
Society is steadily moving from a material goods society to an information service society. At the time of the American Revolution, say 1780 or so, over 90% of the people were essentially farmers—now farmers are a very small percentage of workers.
What will the situation be in 2020? As a guess I would say less than 25% of the people in the civilian workforce will be handling things; the rest will be handling information in some form or other. In making a movie or a tv program you are making not so much a thing, though of course it does have a material form, as you are organizing information.