Post on 16-Jul-2020
transcript
INTERACTIVE ART: INSTALLATION & IMMERSION
notes
next week’s reading replaced — Hayles moved to recommended (write a comment on it if you want to)
Interactive practice assignment — October 28th — email to Kiki and Allison + post on website (optional)
today Petersen / Stiles & Shanken <break>
Skyler Osburn, Raphael Rosalen, Maddie Hawk
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Ex Machina (Alex Garland, 2014) 110 min.
Anne Ring Petersen, “Navigation, Immersion, and Interaction in Video Installation.” Installation Art Between Image and Stage. (2014) Kristine Stiles and Edward A. Shanken, “Missing in Action: Agency and Meaning In Interactive Art.” (2014)
development of interactive art Katjia Kwastek, “Interactive Art--Definitions and Origins.” Aesthetics of Interaction in Digital Art (2013) Frank Popper, “Interactive Digital Installation.” From Technological to Virtual Art (2014)
technologies Soke Dinkla: “computer-supported works” in which “interaction takes place between computer systems and users” Kwastek: “there are numerous art forms art forms that activate the recipient to an even greater extent without the support of technical media”
Stiles and Shanken: “In what ways, or to what degree, is interactive art meaningful?”
1) commercialization, rhetoric of “the new” 2) agency, humanist underpinnings 3) responsible social action
primacy of the digital
‘Interactivity has become inextricably and commercially paired with technology as “new,” market-chic, engaged, and thus, empowering, while non-digital forms of conventional, experimental, and interactive art are presented, by comparison, as old-fashioned, passive, and lacking structures for empowerment.’
analog histories
mid-century performance art
participatory installations Allan Kaprow: “scored responsibility” –“eliminat[ing] audiences entirely” Yard (1961)
happenings “a spatial conflation of public and performance in improvised situations that left much to chance” Fluids Allan Kaprow (1967)
How to Make a Happening Kaprow (1964) https://www.youtube.com/watch?v=8iCM-YIjyHE 52 sec
“action collages”
new media critique
Stiles & Shanken: “myths of technologically mediated agency and interactivity”
Hello Alan Kaprow (1969)
“communications media as non-communications”
“Hello, I see you” interrupted by director
surveillance
Zoom Pavillion Raphael Lozano-Hemmer (2015)
the body Live-Taped Video Corridor Bruce Nauman (1970) Petersen: “Nauman uses the surveillance camera’s imperceptible, and yet aggressive, presence to provoke changes in the viewer’s patterns of reception at a phenomenological and psychological level”
fetishization of “agency” “Rather than earnestly pursuing technological enhancements of agency, artists might instead focus attention on deconstructing the vast ideological apparatus that enlists individuals in their own subjugation. Such an effort is the starting point for a potentially rich social project that rethinks agency around tropes of collective interaction.”
Jesse: “The potential meanings of the piece are laid out by the artist because it functions simply over two binaries (within/outside & citizen/noncitizen), but the effect of the meaning, or whether agency is actually meaningful at all, is located particularly within the individuals interaction with the cube.”
Carey Young's Declared Void II(2013)
psychologies / societies of interaction
Imponderabilia Ulay and Marina Abramovic (1977) https://www.youtube.com/watch?v=hnV89ZaXomg
privacy / technology
Dawn Hours in the Neighbor’s House Pipilotti Rist (2007) Petersen: commute between “optic absorptive contemplation and haptic, sensory-motor interaction” https://www.youtube.com/watch?v=7a-kaHJU6F0
narrative immersion
The Legacy of Jospeh Wagenbach, Iris Haussler (2006)
site-specific, narrative, immersion, theatre
“novels in three dimensions”
cognitive immersion
Dark Pool, Janet Cardiff and Georges Miller (1995)
On entering the doorway to The Dark Pool, one encounters a realm of suspended animation, an elaborate assemblage of furniture, carpets, books, empty dishes and mechanical paraphernalia. As viewers move through the installation, they activate acoustic components of the work - the silence of the space is broken by strands of music, echoes of stories and fragments of dialogue.
https://vimeo.com/73449310
sonic immersion / history
“physical sound”
The Murder of Crows (2008)
Forest for a Thousand Years (2012) https://www.youtube.com/watch?v=MW_NOKFwywM 40:32