Interactive art
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Interactive art is a form of art that involves the viewer in a way that allows the art to achieve its purpose. Some interactive art installations achieve this by letting the viewer or visitor “walk” in, on and around them; others ask the artist or viewer to become part of the work of art.
Such works of art are often equipped with computers , interfaces, and sometimes sensors that respond to movement, heat, meteorological changes, or other types of inputs that their creators programmed them to respond to. Most examples of virtual internet art and electronic art are highly interactive. Sometimes visitors are able to navigate a hypertext environment. Some works accept textual or visual input from outside. Sometimes an audience can influence the course of a performance or even participate in it. Some other interactive works of art are considered immersive because the quality of the interaction spans the full spectrum of surrounding stimuli . Virtual reality environments like the works of Maurice Benayoun and Jeffrey Shaw are highly interactive, as the work with which the viewer interacts takes up all of their fields of perception.
Although some of the earliest examples of interactive art date back to the 1920s, most digital works of art did not officially enter the art world until the late 1990s. Since that debut, countless museums and venues have increasingly incorporated digital and interactive art into their productions. This emerging art genre is growing and developing rapidly thanks to the social subculture of the internet and large-scale urban installations.
Interactivity in art
Interactive art is a genre of art in which the viewer participates in some way by providing input to determine the outcome. In contrast to traditional art forms, in which the interaction of the viewer is merely a mental event, interactivity enables different types of navigation, montage and / or contribution to a work of art, which goes well beyond a purely psychological activity. Interactivity as a medium produces meaning.
Interactive art installations are typically computer-based and often rely on sensors that measure things like temperature, motion, proximity, and other meteorological phenomena that the manufacturer has programmed to generate responses based on the action of the participants. In interactive art, both the audience and the machine work together in dialogue to create a completely unique work of art for each audience to watch. However, not all observers visualize the same picture. Since it is interactive art, each observer makes their own interpretation of the work of art, and this may be completely different from the views of another observer.
Interactive art can be distinguished from generative art in that it represents a dialogue between the work of art and the participant, i.e. H. the participant has the possibility or the ability to have an unintentional influence on the work of art and is also invited to do so in the context of the work, d. H. the work enables interaction. In more and more cases, an installation can be defined as an appealing environment, especially if it was created by architects and designers. In contrast, generative art, which can be interactive but not addressable per se, tends to be monologue - the work of art can change or develop in the presence of the viewer, but the viewer is not invited to participate in the reaction, just enjoying it.
history
According to the artist and theoretician of new media, Maurice Benayoun, the first work of interactive art was to be the work Parrhasius carried out during his art competition with Zeuxis, described by Pliny , in the fifth century BC. When Zeuxis tried to reveal the painted curtain. The work derives its meaning from the gesture of Zeuxis and would not exist without it. Zeuxis became part of Parrhasius ' work through his gesture . This shows that the peculiarity of interactive art often lies less in the use of computers than in the quality of the proposed “situations” and the inclusion of the “other” in the process of creating meaning . Nonetheless, computers and real-time computers made the task easier and opened the field of virtuality - the potential emergence of unexpected (albeit possibly pre-formulated) futures - for contemporary art.
Some of the earliest examples of interactive art were created as early as the 1920s. One example is Marcel Duchamp's work called Rotary Glass Plates . The work of art required the viewer to turn on the machine and stand at a distance of one meter to see an optical illusion.
Today's idea of interactive art began to flourish in the 1960s, partly for political reasons. At the time, many people thought it inappropriate for artists to carry the only creative force in their work. The artists who took this view wanted the audience to have their own part of this creative process. An early example of this are Roy Ascott's change paintings from the early 1960s, about which Frank Popper wrote: "Ascott was among the first artists to launch a call for total audience participation". Aside from the “political” point of view, it was also common wisdom that interaction and engagement played a positive role in the creative process.
In the 1970s, artists began using new technologies such as video and satellites to experiment with live performances and interactions through the direct transmission of video and audio.
Interactive art became a huge phenomenon with the advent of computer-aided interactivity in the 1990s . With that came a new kind of art experience. Audience and machine could now more easily work together in dialogue to create a unique work of art for each audience. In the late 1990s, museums and galleries began to increasingly include the art form in their exhibitions, with some even devoting entire exhibitions to it. This continues to this day and is only expanding due to the increasing communication via digital media.
In the last 10 to 15 years a hybrid , emerging discipline has emerged based on the common interests of certain artists and architects. The boundaries between the disciplines blurred. A significant number of architects and interactive designers have worked with electronics artists to create new, bespoke interfaces and to develop techniques for obtaining user input, such as alternative sensors and voice analysis, as well as forms and tools for information display such as video projection , Lasers , robotic and mechatronic actuators and LED lighting. They created modes for human-human and human-machine communication , for example via the Internet and other telecommunications networks , and developed social contexts for interactive systems, utilitarian tools, formal experiments, games and entertainment, social criticism and measures for political liberation.
to form
There are many different forms of interactive art. Such forms include interactive dance, music, and even drama. New technologies, especially computer systems and technology, have enabled a new kind of interactive art. Examples of such art are installation art, interactive architecture, interactive film, and interactive storytelling.
influence
The aesthetic impact of interactive art is deeper than expected.
Proponents of “more traditional” contemporary art saw the use of computers as a way of compensating for artistic deficits; others believe that art no longer consists in achieving the formal form of the work, but in creating the rules that govern the development of the work Determine the shape depending on the quality of the dialogue.
Events
There are a number of major interactive and media arts festivals and exhibitions around the world. The Prix Ars Electronica is a major annual competition and exhibition that honors outstanding examples of (technology-driven) interactive art. The award winners include the Association of Computing Machinery's Special Interest Group in Graphics ( SIGGRAPH ), the DEAF Dutch Electronic Arts Festival, the Transmediale , FILE - Electronic Language International Festival Brazil and the AV Festival England.
The CAiiA, Center for Advanced Inquiry in the Interactive Arts , founded in 1994 by Roy Ascott at the University of Wales, Newport , and later in 2003 as the Planetary Collegium , was the first doctoral and postdoctoral research center dedicated to the Research in the field of interactive art was established.
Interactive architecture has now been installed on and as part of building facades, foyers , museums and large public spaces including airports in a number of cities around the world. A number of leading museums, e.g. The National Gallery , the Tate, the Victoria & Albert Museum and the Science Museum in London (to name the UK's leading museums in the field) were early adopters of interactive technologies, investing in educational resources, and more recently in creative use of MP3 players for visitors. In 2004, the Victoria & Albert Museum commissioned curator and author Lucy Bullivant to write Responsive Environments (2006), the first of its kind. Interactive designers are often commissioned for museum displays; some of them specialize in portable computers.
Tools
- Wiring, the first open source platform for electronic prototypes, which consists of a programming language , an integrated development environment (IDE) and a single-board microcontroller. It was developed by Hernando Barragán from 2003 and is famous under the name Arduino .
- Arduino physical computing / electronics toolkit for interactive objects and installations
- I-CubeX sensors, actuators and interfaces for interactive media
- Max / MSP programming language for interactive media
- Processing (programming language) used for many interactive art projects
- OpenFrameworks - open source tool similar to Processing that is used for many interactive projects
- Pure Data - open source programming language for interactive computer music and multimedia works
See also
Individual evidence
- ↑ [ http://www.ludicart.com/historique/Chambre%20%C3%A0%20Musique%20CCL/Chambre_a_Musique_CCL.html Chambre Musique CCL. ] Retrieved July 22, 2020 .
- ^ The Tunnel under the Atlantic. In: MOBEN. September 14, 1995. Retrieved July 22, 2020 (American English).
- ^ Maurizio Bolognini - Main works. Retrieved July 22, 2020 .
- ↑ Marc Lee: 10.000 Moving Cities - Same but Different, AR (Augmented Reality) by artist Marc Lee. Retrieved July 22, 2020 (English).
- ↑ a b What is interactive art? Find the answer at kunzt.gallery. Retrieved July 22, 2020 .
- ↑ a b Digital Art: Christiane Paul: 9780500204238. Retrieved on July 22, 2020 .
- ^ Boundary Functions (1998). Retrieved July 22, 2020 (American English).
- ^ A b c L. Muller, E. Edmonds, M. Connell: Living laboratories for interactive art . In: CoDesign . tape 2 , no. 4 , December 1, 2006, ISSN 1571-0882 , p. 195-207 , doi : 10.1080 / 15710880601008109 .
- ↑ Legends - Zeuxis and Parrhasius. Retrieved July 22, 2020 .
- ↑ Rotary Glass Plates (Precision Optics) formerly titled as, Revolving Glass Machine | Yale University Art Gallery. Retrieved July 22, 2020 .
- ^ The MIT Press: From Technological to Virtual Art | The MIT Press. Retrieved July 22, 2020 (English).
- ^ Ernest Edmonds, Lizzie Muller, Matthew Connell: On creative engagement . In: Visual Communication . tape 5 , no. 3 , October 1, 2006, ISSN 1470-3572 , p. 307-322 , doi : 10.1177 / 1470357206068461 .
- ^ Paul, C: Digital Art . Ed .: Thames & Hudson Inc. 2003, p. 18 .
- ^ Paul, C: Digital Art . Thames & Hudson Inc, 2003, pp. 23 .
- ^ Dannenberg, R, Bates: Proceedings of the Fifth Biennial Symposium for Arts and Technology. Retrieved July 22, 2020 .