Visualise The Future of Tech-Enabled Tourism
Read about our launch event, and take a look at our unveiled artworks
Traveltech for Scotland, in partnership with the Edinburgh Futures Institute, launched the Visualise the Future Project on Tuesday 30 March.
We commissioned four Scottish-based visual artists to create their own visions of the future of tech-enabled tourism in the next 20 years. Events from the last year have brough about permanent changes in the travel industry. Tourism is adjusting and starting to prioritise environmental and societal responsibility.
Born out of this was ‘Visualise the Future of Tech-enabled Tourism in Scotland’. Through visual and digital mediums, Traveltech for Scotland is fostering an exploration of how technology can help forge a thriving and sustainable approach to travel and tourism in Scotland in the long-term. The artists were given a briefing document and provided with inspiration material, but were mostly encouraged to follow their vision for the project.
After introductions and welcomes from Josh Ryan-Saha, Director of Traveltech for Scotland, Anne van der Poel, Program Assistant for Traveltech for Scotland and project lead, introduced the project’s aims, process, and developments. Anne then went on to introduce each of the artists.
The Artists and their pieces
At the event the artworks were unveiled for the first time as the artists presented their ideas, process, and final pieces. Though provided with the same brief and inspiration materials, each of the artists produced significantly different visions of the future of tech-enabled tourism. The pieces ranged in medium from augmented reality, slime moulds, moving illustrations, and layered 3D drawing, and explored themes such as decision-making processes, evolutionary technological change, inclusivity, and accessibility.
Take a look at the pieces and artist statements below:
Cat O’Neil — ‘Away’
“When we think about the future, how far do we jump? Do we think about an objective idea of a “future”, guided by sci-fi stories, remarkable technology, idealised or dystopian landscapes? Or does the mind go to our personal futures; where will I be in 10 years time, will I have the same job, friends and family? When asked to think about the future of tourism, technology and travel, I think it’s interesting to reflect on both the personal and general.
Many years ago, I went to a Paul Klee exhibition in which a group of visitors were looking at their ipod exhibition guides with great fascination… it was a surreal experience as they were staring very closely at the tiny screens of their ipod guides, whilst standing in front of a huge canvas which they would occasionally glance up at. At the time, I felt it missed the point of going to an exhibition. I wasn’t too sure how I felt about the use of technology in this setting. But things have changed. We learn, we develop, we adapt and we grow. Last year the Fruitmarket Gallery hosted Janet Cardiff and George Bures Miller ‘Night Walk for Edinburgh’, a walking tour in which one is led through an interactive art piece and are asked to look more closely at our surroundings. I found myself looking at my home city in a way I hadn’t before, having walked the same routes time and time again without a second thought.
In the years that have passed, technology has grown beyond simply explaining our surroundings to engaging with our surroundings. This is what I wanted to show in my piece.
The creation of my piece itself is a merging of traditional and modern technology, so the message is in the medium. I drew everything by hand with ink and cut the pieces out, arranging them over a flat surface with many discreet, hidden supports. This essentially makes the piece 3D as the separate drawn elements are literally layered, creating depth. I then photographed this and proceeded to edit the piece digitally. The next stage of the process is entirely digital; I use a graphics tablet to colour all the hand drawn elements, using many digital layers of colour and texture to bring the piece to life. The final output is a digital image, so in a way there is no ‘original’ piece.
I feel this is reflective of many people’s engagement with technology; it serves to enhance very essential components of our lives. Technology is just a tool, but I wouldn’t be the artist I am today without it.”
Check out a full overview of Cat’s piece, process, and her artist statement here.
Jonny Harris — ‘What connects you to this place’
(This is a 360 degree video, so remember to scroll around. The technology works best with Chrome or Safari)
“‘What connects you to this place?’ is a multi-media artwork. The 360 degree visual storymap integrates real life photographic environments with motion graphics & woodblock printmaking techniques.
The concept behind the work is to create a playful visual representation of how technology & augmented reality could shape our future experience of a place. Taking mapmaking as a starting point & adding layers of information that can be accessed site-specifically through our mobile devices.
A key theme of the artwork is the idea of ‘curation’. If there are going to be layers of information & stories associated with a specific place then who gets to choose these? How do we make them authentic & meaningful? Do we actually want to know everything about a place, or do the hidden, unknown things create the magic?
The aesthetic of the artwork also explores the idea of ‘a real experience’. The fragmented motion graphic elements are interweaved with analogue woodblock prints as a visual metaphor. The handmade scratches & carvings are unique, human & tactile & the layers of information feel slick & glossy & yet somehow detached from reality.
If technology is to be used to enhance the experience of a place, how is this done in a way that truly connects?
As well as reflecting on the inner personal experience of a place. The artwork also touches upon bigger more outward looking ideas & issues such as ecological restoration & environmental sustainability.
The 360 degree design of the digital artwork invites the viewer to explore the virtual space in their own way. Going on a unique mini journey that is built by a series of choices. The text that appears throughout doesn’t seek to answer questions, but to provide a space to ask them & to spark further debate.”
Check out a full overview of Jonny’s piece, process, and his artist statement here.
Elaine Ford — Physarum Polycephalum
“ Life was unicellular at the beginning; the origin of intelligence on Earth.”
“Biological complexity on earth has oscillated on Earth over time, through great flourishings followed by catastrophic extinctions. The arrival of modern humans and our relentless resource consumption is leading to the latest collapse in biodiversity, and accelerating climate change.
Travel and exploration has always been essential for our survival as a species, but now more than ever we must envisage and a future of low carbon travel; enhancing our connection with the natural world to allow us to continue to explore without further damaging our planet.
Some see the future of efficient travel enabled by Artificial Intelligence. But what would the future look like if we were less anthropocentric, and co-designed our future travel with the other organisms that we share the planet with; harnessing their ancient collective intelligence to co-create a more sustainable future?
Elaine explored this question through partnership with a 1 billion year old, unicellular organism called Physarum polycephalum, aka slime mould. Together, Elaine and the slime co-created artwork that explores how drivers of Electric Vehicles could plan their trips across Scotland, between charging points in the most efficient manner. This is one of the most challenging topics in computer science: ‘ the travelling salesman problem’. In a solar-punk future, Elaine envisages novel partnerships between human technologies like AI and natural technologies such as the efficient-network creation ability of slime moulds to tackle complex problems. Inspired by the development of Nature Based Solutions to help solve large scale environmental issues, the artwork applies a natural intelligence approach to route optimisation, exploring the notion of a symbiotic relationship between biology and technology. Growth of the mould over dark shimmering surface evokes images of oil spills, yet is life-affirming as the slime expands and shows us a new way forward. Co-designing the world with non-human life gives nature a voice in planning for the future, and could lead to more sustainable outcomes for us all.”
Check out a full overview of Elaine’s piece, process, and her artist statement here.
James Albon — ‘The Future of Tourism in Scotland’
(Depending on the software you are using the animated elements of this piece might not play. Dragging the file into a tab on a browser should make it play automatically)
“While “The Future of Tourism” is often present as a flashy, futuristic realm of space travel, flying cars and underwater hotels, I believe that no advances in technology will eclipse Scotland’s greatest attractions: beautiful landscapes and historic cultural heritage that have enthralled visitors for hundreds of years and will continue to do so long into the future. Rather, the implementation of technology over the next twenty years will have a more nuanced, discreet effect on our ease of travel; smoothing logistics, providing information, streamlining and building upon existing systems to make Scottish tourism more accessible for all.
In my illustration I’ve sought to convey the multitude of experiences available to the future visitor to Scotland. While many of these scenes are familiar to locals and tourists already, advances in technology, from integrated smart systems and augmented-reality live translations, to easily-accessed self-driving cars and low-carbon high-speed rail, will turn the tourist experience on its head and help everyone to get the most out of their visit to Scotland.
The artwork was created using gouache and watercolour on paper, the painting was then scanned so that the animated elements could be included for the final GIF format image. The figures and elements of the Scottish landscape are all based on my own sketchbook drawings, drawn on location at various tourist spots around Scotland, and the composition is based around those real, observed moments.”
Check out a full overview of James’ piece, process, and his artist statement here.
The Panel
The artists’ presentation was followed by a panel discussion with three selected industry members. The panelists, Chris Greenwood from Visit Scotland, Julie Grieve the founder and CEO of Criton, and Scott Bryne the General Manager at Hospitalfield, offered insight into the industry and its recovery, and how technology plays a role in Scotland’s tourism industry. The panelists discussed the artworks and project at large, as well as the perspectives, issues, and solutions they offer for the industry. This was chaired by Aileen Lamb, at Scottish Enterprise.
A huge thank you to our four artists, Elaine Ford, Jonny Harris, Cat O’Neil, and James Albon for their fantastic work. Thank you as well to our chair Aileen Lamb, and our panelists; Chris Greenwood, Julie Grieve, and Scott Byrne. Thank you as well to Kelly McErlane and Siobhan Dunn for their support ahead of and during the event.
If you missed the event, watch the full event here. (please note that due to connectivity issues experienced at the start, the audio quality in Josh’s intro is affected. The full quality resumes from minute 4:25, our apologies)
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