Interactivity in Contemporary Art

Interactivit

Interactivity in

y in contemporary art

contemporary art

Benjamin Low Teck Hui Benjamin Low Teck Hui Interactive Art Level Two Interactive Art Level Two

Student ID 12406 Student ID 12406 HP no. 97974063 HP no. 97974063  [email protected]  [email protected]

An academic paper submitted in p

An academic paper submitted in partial fulfillment of the requirements for the Diploma of Mediaartial fulfillment of the requirements for the Diploma of Media Arts (Interactive Art)

Arts (Interactive Art)

LASALLE College of the Arts LASALLE College of the Arts © Benjamin Low Teck Hui 2011 © Benjamin Low Teck Hui 2011

Signed Statement Signed Statement

This paper represents my own work except where otherwise indicated or acknowledged. No This paper represents my own work except where otherwise indicated or acknowledged. No  part of this essay has been or is con

 part of this essay has been or is concurrently submitted for any other qualification at any other currently submitted for any other qualification at any other  academic institutions. academic institutions. Signed: ___________________  Signed: ___________________  Name: ___________________  Name: ___________________  Student ID number: ___________________  Student ID number: ___________________ 

Introduction Introduction

As Marshall McLuhan famously said in his book 

As Marshall McLuhan famously said in his book Understanding Media: The ExtensionsUnderstanding Media: The Extensions of Man

of Man (1964) - ‘the medium is the message’. This is true for art as it is true in mass media,(1964) - ‘the medium is the message’. This is true for art as it is true in mass media, whereby the format of the medium itself is an interesting topic o

whereby the format of the medium itself is an interesting topic o f study. The medium of massf study. The medium of mass media itself is commentary on how society is evolving. Television led to a revolution in how media itself is commentary on how society is evolving. Television led to a revolution in how mass media could be consumed as moving images and propagated the reach and power of  mass media could be consumed as moving images and propagated the reach and power of  corporations to reach out to audiences.

corporations to reach out to audiences.

In the world of art, the inven

In the world of art, the invention of the camera, with the mechtion of the camera, with the mechanical reproducibility of anical reproducibility of  the image, led to a decline in painting as an art form. The invention of television and cinema the image, led to a decline in painting as an art form. The invention of television and cinema led to artists appropriating the medium of the moving

led to artists appropriating the medium of the moving image to produce video image to produce video art works. Theart works. The invention of the Internet in the 1990s led to Net art being popular in the 1990s.

invention of the Internet in the 1990s led to Net art being popular in the 1990s.

Riding on the ubuiquity of the

Riding on the ubuiquity of the Internet, artists have been quick to use Internet, artists have been quick to use the Internet to sharethe Internet to share their works and their own created tools as a reaction to the corporate power of commercial tools. their works and their own created tools as a reaction to the corporate power of commercial tools. The open source movement in the 2000s has led to a contemporary movement in art which is The open source movement in the 2000s has led to a contemporary movement in art which is still being defined, whereby the choice of medium is no longer confined to one category, but still being defined, whereby the choice of medium is no longer confined to one category, but can straddle a confluence of screen, image, sound, virtual and public space which is invariably can straddle a confluence of screen, image, sound, virtual and public space which is invariably interactive in nature.

interactive in nature.

Technology is a driver of how

Technology is a driver of how art is made. Technology also makes interactivity possibleart is made. Technology also makes interactivity possible in artworks in ways that have hitherto been impossible. This paper traces how interactive art has in artworks in ways that have hitherto been impossible. This paper traces how interactive art has

evolved via art-historical antecedents (Part 1) and its contributions to contemporary art (Part 2). evolved via art-historical antecedents (Part 1) and its contributions to contemporary art (Part 2). PART 1 - Tracing the roots of interactivity in art

PART 1 - Tracing the roots of interactivity in art

From Modernism to Post-modernism From Modernism to Post-modernism

Tracing the history of how art has evo

Tracing the history of how art has evolved since the 1950s, there is clved since the 1950s, there is clearly a movementlearly a movement away from the traditionally defined forms of painting and sculpture towards other

away from the traditionally defined forms of painting and sculpture towards other aestheticaesthetic  possibilities. Conceptual Art first led this movement towards non-traditional art forms. The  possibilities. Conceptual Art first led this movement towards non-traditional art forms. The

emphasis on form veered towards an emphasis on the idea or concept behind art. emphasis on form veered towards an emphasis on the idea or concept behind art.

Contemporary art has had its roots in important art-historical antecedents such as Contemporary art has had its roots in important art-historical antecedents such as

Dadaism, Pop Art, Media Art etc. However, within the context of interactivity in contemporary Dadaism, Pop Art, Media Art etc. However, within the context of interactivity in contemporary art, it is probably Conceptual Art that has exe

art, it is probably Conceptual Art that has exerted the most influence. The Dada rted the most influence. The Dada movement wasmovement was much in part a reaction to

much in part a reaction to the industrialization of warfare and the mechanical the industrialization of warfare and the mechanical reproduction of reproduction of  texts and images, while the Pop Art move

texts and images, while the Pop Art movement arose from an engagement with cment arose from an engagement with commercialommercial culture.

culture.

The term ‘Conceptual Art’ was first coined by Sol Le

The term ‘Conceptual Art’ was first coined by Sol Le Witt in his influential essayWitt in his influential essay  Paragraphs of Conceptual Art 

 Paragraphs of Conceptual Art (1967). He says “In conceptual art the idea (1967). He says “In conceptual art the idea of concept is the mostof concept is the most important aspect of the work

important aspect of the work …. …. all planning and decisions are made all planning and decisions are made beforehand and thebeforehand and the execution is a perfunctory (done in a

execution is a perfunctory (done in a manner of duty) affair...the idea becomes the macmanner of duty) affair...the idea becomes the mac hine thathine that makes the art.”

makes the art.”

In

conceptual art as “a significant and innov

conceptual art as “a significant and innovative method or type (not of style) of artistic practiceative method or type (not of style) of artistic practice on the eve of the Informational Age” and noted a “parallel socioeconomic phenomenon, … the on the eve of the Informational Age” and noted a “parallel socioeconomic phenomenon, … the  penumbra between industry and post-industry”. Conceptual art straddles modernism and

 penumbra between industry and post-industry”. Conceptual art straddles modernism and post- post-modernism, and is an art-historical conduit between the

modernism, and is an art-historical conduit between the Industrial and Information Age.Industrial and Information Age.

Conceptual Art lays the foundation Conceptual Art lays the foundation

In his essay

In his essay Art in the Information Age: Technology and Conceptual Art  Art in the Information Age: Technology and Conceptual Art (2002), Edward(2002), Edward A. Shanken writes that “conceptual art emerged

A. Shanken writes that “conceptual art emerged during a moment of intensive artisticduring a moment of intensive artistic experimentation with technology”. He also argues that the apparently disparate genres experimentation with technology”. He also argues that the apparently disparate genres of ‘Conceptual Art’ and ‘Art and Techn

of ‘Conceptual Art’ and ‘Art and Technology’ have parallels and are reflections and coology’ have parallels and are reflections and constituentsnstituents of broad cultural transformations during the information age.

of broad cultural transformations during the information age.

In a manner very similar to how interactive art can be described, Shankens writes that “In In a manner very similar to how interactive art can be described, Shankens writes that “In interrogating the relationship between ideas and art, c

interrogating the relationship between ideas and art, c onceptual art de-emphasizes the valueonceptual art de-emphasizes the value traditionally accorded to the materiality of art objects. It focuses, rather, on ex

traditionally accorded to the materiality of art objects. It focuses, rather, on ex amining theamining the  preconditions for how meaning emerges in a

 preconditions for how meaning emerges in art, seen as a semiotic system.” In an interactivert, seen as a semiotic system.” In an interactive artwork, the audience actively engages the artwork within a system of sign exchange and artwork, the audience actively engages the artwork within a system of sign exchange and co-creates its meaning within the semiotic framework created by the

creates its meaning within the semiotic framework created by the artist.artist.

Art critic Jack Burnham, who curated the

Art critic Jack Burnham, who curated the exhibitionexhibition Software, Information Technology:Software, Information Technology:  Its New Meaning for Art 

 Its New Meaning for Art (1970, Jewish Museum of New York), mentioned in (1970, Jewish Museum of New York), mentioned in “Systems“Systems Esthetics” that there is a sense that with software technology, “art had

Esthetics” that there is a sense that with software technology, “art had traversed from the objecttraversed from the object to the idea, from a material definition of

Burnham also expressed his interest in how a

Burnham also expressed his interest in how a “dialogue evolves between the pa“dialogue evolves between the participantsrticipants - the computer program and the human subject - so that both move beyond their original

- the computer program and the human subject - so that both move beyond their original state.”. He further theorised this bi-directional exchange as a model for the eventual two-way state.”. He further theorised this bi-directional exchange as a model for the eventual two-way communication that he anticipated emerging in art. He foresaw that art would become more and communication that he anticipated emerging in art. He foresaw that art would become more and more interactive.

more interactive.

Thus, interactivity in art can be seen

Thus, interactivity in art can be seen as an extension of conceptual as an extension of conceptual art in its heavyart in its heavy

engagement with technology. Conceptual art, with its accruement of technology, has moved the engagement with technology. Conceptual art, with its accruement of technology, has moved the emphasis of art from the aesthetics of form towards the aesthetics of the

emphasis of art from the aesthetics of form towards the aesthetics of the idea or concept, pavingidea or concept, paving the way for interactivity to be seen as part of experiencing the concept of the artwork.

the way for interactivity to be seen as part of experiencing the concept of the artwork.

Interactivity in art arrives Interactivity in art arrives

Originally, interactive media grew out of developments in e

Originally, interactive media grew out of developments in e lectronic computer gameslectronic computer games in the 1970s and 1980s and the technology became so developed that many artists decided to in the 1970s and 1980s and the technology became so developed that many artists decided to use the game concept of branched-out situations to involve the audience in a different kind of  use the game concept of branched-out situations to involve the audience in a different kind of  imaginative experience. Jane Veeder, Nancy Burson, and Ed Tannenbaum created different imaginative experience. Jane Veeder, Nancy Burson, and Ed Tannenbaum created different genres of interactive work 

genres of interactive work 11_..

 Net Art was popular in the 199

 Net Art was popular in the 1990s, allowing artists to circumvent the traditional0s, allowing artists to circumvent the traditional

dominance of the gallery and museum to deliver an aesthetic experience through the Internet. dominance of the gallery and museum to deliver an aesthetic experience through the Internet.  Net Art is often interactive, participatory and multi-media based. Olia Lialina’s

 Net Art is often interactive, participatory and multi-media based. Olia Lialina’s My boyfriend My boyfriend 

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came back from the war 

came back from the war , and, and mouchette.org mouchette.org are seminal works in this period.are seminal works in this period.

The open source movement in the 2000s has since led to a burgeoning community of  The open source movement in the 2000s has since led to a burgeoning community of  hobbyists and hackers creating their own interactive works that are shared online (on Youtube hobbyists and hackers creating their own interactive works that are shared online (on Youtube for example). Open source tools such a

for example). Open source tools such as PureData for sound, Processing/ Cinder/s PureData for sound, Processing/ Cinder/

openFrameworks for programming, the Android development kit for phones, the Arduino openFrameworks for programming, the Android development kit for phones, the Arduino hardware controller platform, and most recently, the Microsoft Kinect sensor (hacking was hardware controller platform, and most recently, the Microsoft Kinect sensor (hacking was endorsed with Microsoft’s approval and support as it would help popularize the Kinect endorsed with Microsoft’s approval and support as it would help popularize the Kinect commercially), means that there are now easily accessible and

commercially), means that there are now easily accessible and affordable tools for anyone toaffordable tools for anyone to create interactive artworks.

create interactive artworks.

PART 2 - Features of interactivity in contemporary art PART 2 - Features of interactivity in contemporary art

The reference artwork  The reference artwork 

Krzysztof Wodiczko’s

Krzysztof Wodiczko’s Tijuana ProjectionTijuana Projection (part of InSite 2000) is one of the (part of InSite 2000) is one of the bestbest

examples of a contemporary interactive artwork that critically fulfills the criteria of what good examples of a contemporary interactive artwork that critically fulfills the criteria of what good art should be.

art should be. Hence I will be using this artwork as a reference subsequently for the rest of tHence I will be using this artwork as a reference subsequently for the rest of thishis  paper.

 paper.

In this public intervention, women working in the

In this public intervention, women working in the maquiladoramaquiladora22_{industry of Tijuana,industry of Tijuana,} Mexico wore media technology designed

Mexico wore media technology designed to project their faces onto El Centro Cultural (ato project their faces onto El Centro Cultural (a

spherical building that served as an excellent canvas for the human head) as they spoke

spherical building that served as an excellent canvas for the human head) as they spoke

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emotionally of incest, police abuse, and work

emotionally of incest, police abuse, and work place discrimination in real time. As participants,place discrimination in real time. As participants,

their speech was courageously offered at great risk to

their speech was courageously offered at great risk to themselves for the purpose of moral andthemselves for the purpose of moral and

 political change.

 political change.

The art of the interactive narrative The art of the interactive narrative

The narrative has always been a

The narrative has always been a dominant cultural force. All artworks tell a story.dominant cultural force. All artworks tell a story. Traditional media such as the novel,

Traditional media such as the novel, television, theatre or cinema usually has a narrative with television, theatre or cinema usually has a narrative with aa classical beginning, middle and end,

classical beginning, middle and end, with the communication being a with the communication being a one-sided affair from theone-sided affair from the artwork to audience.

artwork to audience.

However, with new digital media, the

However, with new digital media, the storytelling can be entirely morph-able, elasticisedstorytelling can be entirely morph-able, elasticised and randomised into a non-linear na

and randomised into a non-linear narrative that moves front and back, sideways or up rrative that moves front and back, sideways or up or down.or down. The non-linear relates to our daily experience

The non-linear relates to our daily experience of the real world, which we cof the real world, which we can affect in manyan affect in many ways whereas traditional media only allow us to watch on

ways whereas traditional media only allow us to watch on as spectators with no power over as spectators with no power over  how the story plays out. Stories can be structured like ga

how the story plays out. Stories can be structured like ga mes using the interactive grammars of mes using the interactive grammars of  multiple image streams. These kinds of stories do not offer the

multiple image streams. These kinds of stories do not offer the closure of linear narratives, butclosure of linear narratives, but  place the participant in the ce

 place the participant in the centre of the story-telling spacentre of the story-telling space33_..

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In

In Conversation Pieces: The Role of Dialogue in Socially-Engaged Art Conversation Pieces: The Role of Dialogue in Socially-Engaged Art , Grant Kester , Grant Kester  writes about art projects that “mark the emergence of a body of contemporary art practice writes about art projects that “mark the emergence of a body of contemporary art practice concerned with collaborative, and p

concerned with collaborative, and potentially emancipatory forms of dialogue and conversation...otentially emancipatory forms of dialogue and conversation... In these projects conversation becomes an

In these projects conversation becomes an integral part of the work itself. It is re-framed as anintegral part of the work itself. It is re-framed as an active, generative process that can

active, generative process that can help us speak and imagine help us speak and imagine beyond the limits of fixed identitiesbeyond the limits of fixed identities and official discourse”.

and official discourse”.

One of the idealised functions of art

One of the idealised functions of art is to effect positive broader socio-political change inis to effect positive broader socio-political change in the world through representation of truth via aesthetic mea

the world through representation of truth via aesthetic mea ns. Through the audience’s experiencens. Through the audience’s experience of the artwork, a new kind

of the artwork, a new kind of perception about the world of perception about the world emerges. This kind of aestheticemerges. This kind of aesthetic knowledge could then be

knowledge could then be translated into concrete action that will play a patranslated into concrete action that will play a pa rt in shaping reality, of rt in shaping reality, of  which the artwork is a simulacra of, in

which the artwork is a simulacra of, in its attempt to communicate reality.its attempt to communicate reality.

The

The Tijuana ProjectionTijuana Projection allows the narrator, the one who dons the media helmet andallows the narrator, the one who dons the media helmet and whose face is projected onto the

whose face is projected onto the building, to tell her personal story of suffering. She is free to saybuilding, to tell her personal story of suffering. She is free to say whatever she wants, and whatever

whatever she wants, and whatever she says is a reflection of her own personal real she says is a reflection of her own personal real experience.experience. Her story would likely to be in the form of flashbacks that jump back and forth in time according Her story would likely to be in the form of flashbacks that jump back and forth in time according to a causal logic that predicates the events. The audience would not know what to expect, and to a causal logic that predicates the events. The audience would not know what to expect, and each woman’s story is different. This non-linear structure of the narrative mirrors real world each woman’s story is different. This non-linear structure of the narrative mirrors real world experience. The non-linear narrative is a true-to-life simulacra of reality.

experience. The non-linear narrative is a true-to-life simulacra of reality.

Towards an aesthetic of experience of context over form Towards an aesthetic of experience of context over form

In

In New Art in the 60s and 70s: redefining reality New Art in the 60s and 70s: redefining reality, Rorimer writes that “The expansion, Rorimer writes that “The expansion of art’s thematic parameters to include issues of context has led

of art’s thematic parameters to include issues of context has led to the redefinition of traditionalto the redefinition of traditional materiality and the notion of the autonomous, transcendent object. It has led to the recognition materiality and the notion of the autonomous, transcendent object. It has led to the recognition that a work of art is not, both literally and figuratively speaking, detached from society’s that a work of art is not, both literally and figuratively speaking, detached from society’s interwoven support structures, which encompass the institutional (museological), economic, interwoven support structures, which encompass the institutional (museological), economic, cultural, political, and historical as well as the purely architectural.” Interactivity in art is a cultural, political, and historical as well as the purely architectural.” Interactivity in art is a continuation of this thrust towards emphasising context over form.

continuation of this thrust towards emphasising context over form.

Interactivity in art means that there is a freedom from the

Interactivity in art means that there is a freedom from the aesthetic confines of formaesthetic confines of form towards an aesthetic of experience which involves participation with the artwork. The audience towards an aesthetic of experience which involves participation with the artwork. The audience is part of the artwork, which places a demand on the audience to make choices which will is part of the artwork, which places a demand on the audience to make choices which will alter the artwork in some way. The form d

alter the artwork in some way. The form does not matter. The artwork could be oes not matter. The artwork could be in the form of in the form of  environmental architecture, something wearable or as part o

environmental architecture, something wearable or as part o f a performance process in theatre.f a performance process in theatre. This means that there are many possibilities of form for the representation of the artwork’s This means that there are many possibilities of form for the representation of the artwork’s content, and the quality of experience overrides the concern of form.

content, and the quality of experience overrides the concern of form.

Kester writes of socially-engaged art

Kester writes of socially-engaged art practitioners:- “Parting from the traditions of object-practitioners:- “Parting from the traditions of object-making, these artists have adopted a

making, these artists have adopted a performative, process-based approach. They are ‘contextperformative, process-based approach. They are ‘context  providers’ rather than ‘content providers’, … whose works involves the

 providers’ rather than ‘content providers’, … whose works involves the creative orchestrationcreative orchestration of collaborative encounters and conve

of collaborative encounters and conversations well beyond the institutional boundaries of thersations well beyond the institutional boundaries of the gallery or museum.” Artists can now focus on shaping

gallery or museum.” Artists can now focus on shaping the experience of the athe experience of the artwork by definingrtwork by defining its context rather than form.

The Tijuana Projection

The Tijuana Projection is an artwork whose content is not cis an artwork whose content is not created by the artistreated by the artist (Wodiczko), but decided by the u

(Wodiczko), but decided by the user of the artwork (the woman narrator who weaser of the artwork (the woman narrator who wea rs the helmet).rs the helmet). What Wodiczko has done was to set the context of the artwork, that is, the topic is about the What Wodiczko has done was to set the context of the artwork, that is, the topic is about the experiences of the women who work in the

experiences of the women who work in the maquiladoramaquiladora industry. This kind of open-endedindustry. This kind of open-ended

content is uncharacteristic of artwork other than an

content is uncharacteristic of artwork other than an interactive one which allows the user tointeractive one which allows the user to

create their own content. The

create their own content. The form is not primary, but is chosen to fit the contexform is not primary, but is chosen to fit the context, not the other t, not the other 

way round. I would also argue

way round. I would also argue that thethat theTijuana ProjectionTijuana Projection offers a powerful aesthetic experienceoffers a powerful aesthetic experience

which will be elaborated later. The

which will be elaborated later. The point for now is that the aesthetic of epoint for now is that the aesthetic of experience eclipses thexperience eclipses the

aesthetics of form in this artwork, since the focus of the

aesthetics of form in this artwork, since the focus of the artwork is not on its form (which is theartwork is not on its form (which is the

helmet) but rather, the audience’s experience, which is what the audience would remember of the

helmet) but rather, the audience’s experience, which is what the audience would remember of the

artwork.

artwork.

The mediation of space The mediation of space

Interactive technology can be “employed as a means to enable art to become a Interactive technology can be “employed as a means to enable art to become a

responsive, real-time system that ‘merges with the environment in a relationship that is better  responsive, real-time system that ‘merges with the environment in a relationship that is better  understood as a system of interdependent processes

understood as a system of interdependent processes44_{.’” .’” This can This can be especially be especially be effective be effective whenwhen} the site itself becomes part of the context in

the site itself becomes part of the context in site-specific artworks. Interactive art can break downsite-specific artworks. Interactive art can break down the boundaries between viewer and environment.

the boundaries between viewer and environment.

Another example of how interactive technologies can bear on the representation and Another example of how interactive technologies can bear on the representation and  perception of space is in the

 perception of space is in the form of virtual reality environments. Powerful computers are usedform of virtual reality environments. Powerful computers are used

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to generate visual experience and to track body movements through the use of prosthetic devices to generate visual experience and to track body movements through the use of prosthetic devices such as data gloves, head-mounted

such as data gloves, head-mounted displays and body suits which encase the displays and body suits which encase the body in fiber-body in fiber-optic cabling. Here, artists have full control over

optic cabling. Here, artists have full control over all the objects or all the spatial coordinatesall the objects or all the spatial coordinates and sound in order to

and sound in order to create an aesthetic effect. There is full body create an aesthetic effect. There is full body participation, a sharedparticipation, a shared telecommunications space, multi-sensory feedback, third person participation and unenc

telecommunications space, multi-sensory feedback, third person participation and unenc umberedumbered approaches. There is little critical literature on virtual reality environments at this point in time, approaches. There is little critical literature on virtual reality environments at this point in time, and this medium is an exciting unexplored frontier 

and this medium is an exciting unexplored frontier 55_..

Interactive technologies have the capa

Interactive technologies have the capability to transform public space into a space for artbility to transform public space into a space for art to happen. Surveillance and telepresence

to happen. Surveillance and telepresence is a recurring motif in interactive art, and cais a recurring motif in interactive art, and can bridge or n bridge or  collapse geographical distances. Telepresence, or experience from a distance, can be achieved collapse geographical distances. Telepresence, or experience from a distance, can be achieved through the use

through the use of web cams of web cams and remote controlled and remote controlled robots. robots. Rafael Lozano-Hemmer'sRafael Lozano-Hemmer'sVectorial Vectorial   Elevation

 Elevation(2000) allows Web site visitors to maneuver robotic spotlights from afar, creating(2000) allows Web site visitors to maneuver robotic spotlights from afar, creating  patterns in the sky above public

 patterns in the sky above public plazas. The theme of surveillance in aplazas. The theme of surveillance in artwork has risen with thertwork has risen with the sophistication of surveillance technologies such as networked cameras,

sophistication of surveillance technologies such as networked cameras, biometric identificationbiometric identification systems, satellite imaging and data mining, as artists raise the issue of institutional surveillance systems, satellite imaging and data mining, as artists raise the issue of institutional surveillance and the invasion of privacy. For exa

and the invasion of privacy. For example, Marie Sester’smple, Marie Sester’s ACCESS  ACCESS (2003) casts a beam of light(2003) casts a beam of light on those who pass beneath

on those who pass beneath its electronic eye, like that of a spotlight on its electronic eye, like that of a spotlight on a prisoner. The cameraa prisoner. The camera tracks the person according to online commands by a user who can see the ‘victim’, and an tracks the person according to online commands by a user who can see the ‘victim’, and an acoustic beam directs the user’s voice to the

acoustic beam directs the user’s voice to the ‘victim’ that only the ‘victim’ can hear ‘victim’ that only the ‘victim’ can hear 66_..

The

The Tijuana ProjectionTijuana Projection features interactive technology that transforms the public plazafeatures interactive technology that transforms the public plaza

5

5_{Digital Currents Art in the Electronic Age, p206-208Digital Currents Art in the Electronic Age, p206-208} 6

in front of the El Centro Cultural into a

in front of the El Centro Cultural into a space for the experience of space for the experience of art. At night, the lightart. At night, the light

 projection on the dome facade is a captivating presence, especially when the personal space of   projection on the dome facade is a captivating presence, especially when the personal space of 

the narrator is juxtaposed onto the pub

the narrator is juxtaposed onto the public space via the live image lic space via the live image of the woman’s face. Thisof the woman’s face. This offers an intimate experience for the viewer, be

offers an intimate experience for the viewer, being immersed in another person’s decorporealiseding immersed in another person’s decorporealised emotional space. The audience’s response is in the form of a haptic visuality in which the image emotional space. The audience’s response is in the form of a haptic visuality in which the image seen is also felt as a tangible tactile presence

seen is also felt as a tangible tactile presence through the co-conscious interaction of the senses.through the co-conscious interaction of the senses. The woman’s presence is perceived as

The woman’s presence is perceived as a gestalt whole, with the imagined aa gestalt whole, with the imagined associations of smellssociations of smell and touch through the

and touch through the mere visual and audio sensation. The mere visual and audio sensation. The site-specific nature of the work site-specific nature of the work  also uses the context of the e

also uses the context of the environment as part of the artwork. The nvironment as part of the artwork. The site is the Culture Centre of site is the Culture Centre of  Tijuana, a space associated with the

Tijuana, a space associated with the identity of the place through its people, identity of the place through its people, history or customs.history or customs. The choice of site also means

The choice of site also means that the audience will consist of members of the that the audience will consist of members of the local communitylocal community who are empowered to create

who are empowered to create change within their own community. The change within their own community. The artwork thus mediatesartwork thus mediates space to create a powerful aesthetic of experience.

space to create a powerful aesthetic of experience.

Summary Summary

In part 1, I argued that interactive art is most heavily influenced by conceptual art as a In part 1, I argued that interactive art is most heavily influenced by conceptual art as a art-historical antecedent, arising from a heavy engagemen

historical antecedent, arising from a heavy engagement with technology. Conceptual art movedt with technology. Conceptual art moved the emphasis from the aesthetics of form towards the aesthetic of the artwork’s concept or idea, the emphasis from the aesthetics of form towards the aesthetic of the artwork’s concept or idea, made possible by new technological mean

made possible by new technological means of art representation. Interactive art also arose froms of art representation. Interactive art also arose from the 1990s onwards from new technological means which were already predicted in the 1970s, the 1990s onwards from new technological means which were already predicted in the 1970s, coinciding with the rise of

coinciding with the rise of the Information Age with the Information Age with the advent of the Internet.the advent of the Internet.

In part 2, I argued that contemporary art benefits from interactivity through the In part 2, I argued that contemporary art benefits from interactivity through the engagement of the non-linear narrative which mirrors real world experience; through the engagement of the non-linear narrative which mirrors real world experience; through the

aesthetics of experience of the artwork’s context ove

aesthetics of experience of the artwork’s context over mere form; and finally, through ther mere form; and finally, through the mediation of space to provide an immersive experience, whereby the boundary of space is mediation of space to provide an immersive experience, whereby the boundary of space is transformed between the viewer and the artwork. I used the example artwork of 

transformed between the viewer and the artwork. I used the example artwork of The TijuanaThe Tijuana  Projection

Conclusion Conclusion

Our daily stream-of-consciousness experience is based on phenomenology. We Our daily stream-of-consciousness experience is based on phenomenology. We taketake in information about the world through our

in information about the world through our senses. We then interpret the sensory informationsenses. We then interpret the sensory information to create our own meaning according to cultural norms of perception. Embodied knowledge is to create our own meaning according to cultural norms of perception. Embodied knowledge is thus mediated by our senses

thus mediated by our senses77_{. By making the environment and the audience part of the artwork . By making the environment and the audience part of the artwork}  through the duplexity of sign exchange, interactive art engages both our senses and perception through the duplexity of sign exchange, interactive art engages both our senses and perception simultaneously. This enhances our experience of the artwork.

simultaneously. This enhances our experience of the artwork.

7

Bibliography Bibliography Books:

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2. DigitDigital Curral Currents: Aents: Art in the Ert in the Electrlectronic Age. Monic Age. Margot Loargot Lovejoyvejoy. Routle. Routledge. 2004.dge. 2004.

Articles: Articles:

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1. ConversatioConversation Piecen Pieces: The s: The Role of Role of Dialogue Dialogue in Sociain Socially-Engagelly-Engaged Art. Gd Art. Grant Kerant Kester. 20ster. 2004.04. 2.

2. Art in thArt in the Informe Information Aation Age: Techge: Technology nology and Conand Conceptual ceptual Art. EdArt. Edward A. ward A. ShankenShanken.. LEONARDO, Vol. 35, No 4, pp433-438. 2002.

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3. SensoriumSensorium, embo, embodied exdied experience, perience, technologtechnology and y and contempcontemporary art. orary art. Caroline ACaroline A. Jones. Jones.. 2006.