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
In corporate and government bureaucracies, the standard method for making a presentation is to talk about a list of points organized onto slides projected up on the wall. For many years, overhead projectors lit up transparencies, and slide projectors showed high-resolution 35mm slides. Now "slideware" computer programs for presentations are nearly everywhere. Early in the 21st century, several hundred million copies of Microsoft PowerPoint were turning out trillions of slides each year.
Alas, slideware often reduces the analytical quality of presentations. In particular, the popular PowerPoint templates (ready-made designs) usually weaken verbal and spatial reasoning, and almost always corrupt statistical analysis. What is the problem with PowerPoint? And how can we improve our presentations?