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This edition first published 2016O 2016 /ohn Wilcv & Sons, Inc, except Chaprer 9 O Max Bense

Registere d OJlice

fohn wiley & Sons, Ltd, Thc Atrium, Southern (iatc, chichester, \vest Sussex, porg gse, uK

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Library of Congress Cataloginq-in-publication Data

Names: Paul, Christiane, editor.Title: A companion to digital art / Edited by Christiane l,aul.Descripdon: Hoboken : lohn wiley & Sons Inc.,20I6. I Includes bibliographical refbrences and index.Identifiers: LCCN 2015039613 (print) I LCCN 2015040809 (ebook r

1 isex lzsr r).B47s2ot (cloth) |ISBN 97811t8475t88 (Adobe pDF)

| ISBN 9Z8l 1184752t8 repubrSubjects: LCSH: Computer art.Classification: LCC N7433.B .C615 2016 (print) | LCC N7433.8 (ebook) ) DDC 776_d,c23LC record available * hrrp : / / lccn.loc. gor,/2 0 t 5 03 96 I 3

A catalogue record for this book is available from the British Librart,.

oover image: Scott Snibbe, Deep Watls, interactive vicleo installatron, San Francisco Muscum ofModern Art,2002. Reproduced by pcrmission of Scott Snibbe.

Set in lOll2pt Galliard by Spi Global, pondicherry, IndiaPrinted and bound in Malaysia byVir.ar printing Sdn Bhd

). 20t6

List of Figures

Notes on Contribut

Acknowledgments

Introduction: FrornChristiarue Patl

Part I Histories ,

I The Compler an

Its Impact on -\rOliver Grau

2 International \eDarho Fritz

3 Art in the Rear-\Erkhi Huhtnnrc

Proto-Media -\nMachiho I(usalsn

Generative Art T

Philip Galanrcr

Digital Art at thr

Jennifer Wat

The HauntologrCbarlie Gerc

6

13

lnteractive Artlnterventions in/to Process

Nathaniel Stern

A Cornpanion to Digitat Art,First Edition' Edited by Christiane Paul'

O zoli |ohn Wiley & Sons, Inc. Published 2o16 tty |ohn Wiley & Sons' Inc

Introduction: Bodies in Process

when we move and think and feel, we are, of course, a body. This body is constantly

changing, in and through its ongoing relationships. This body is a dynamic form, full

of pit.iiid. It is not- "a body," as thing, b:ut evnbod.ivnent as incipient activity'

Embodiment is a continuorrrly e-e.gent and active relation' It is our materialization

and articulation, both a,ctua.l arrd ttirtwnl: ns they occur) and abowt to occur.

Embodiment is rnoilng-thinhircg-feeling; ir is the body's potential to vary; it is

the body's relations ao"at. or$ia". It is per-fornoed., rather than pre-forrned'. And

embodiment is what is staged in the best interactive art'

This chapter looks closely at works by contemporary artists Rafael Lozano-l{emmer,

Camille Uiterback, and Scott Snibbe, who each have us encounter the body and its

ongoing emergence witb other matter and materials. while Lozano-FIemmer frames

the mutual emergence of bodies and space, Utterback highlights how signs and bodies

require orr. u.rotir., to materializ., ".rd

Snibbe accents bodies (plural) as they mani-

fest along with the communities they inhabit. I use these and other artists' works to

intermitiently differentiate between the interactivity of digital systems and relational

emergence; io clarify the different levels and strategies of interaction or engagement

wittr iigiti technologies; and to look toward the future of what the category "inter-

active ait,, may become. Ulti-"tely, I argue that interactive artworks and installations

are interventions in/to process: th.y..."t. situations that enhance, disrupt, and alter

experience and action in *ay, that call attention to our varied relationships wi'th and

as both structure and matter. At stake are the ways we perform our bodies, media,

concepts, and materials.l

Rafaet Lozano-Hemnnseveral at a time, onto

cities such as Rotterd

Wellington, among od

the host cities, and are

from above. From thc

projections' making froassersbY on the squ

photog.aPht undernez

io 25 meters, dePend

uacked in real time

ComPuter vision, mo

digital video cameras a

Kinect), and custom '

bodies, colors, andf"live" square align *xbeneath are revealed

graphs in his sequenc

All of us have Plave

the soPhisticated vo<

while interactors im-u

performing their bo<

Bod.Y MoYies is a s-orl

photograPhs benead

around them' The rtunveiled from bene

ironicallY calls "tele-iadd laYers of comPlc

the artist's Photogrworld. TheY often tinterweaving their n

in the images, solne

The artist's collal

an unfolding and

dePending on s'het

hish. or remain clo

crlate comPlex skments. Viewers rtu

individual sizes reli

other architecnrrc:proiected forms in

and to the Partid\'in this Project use I

a building, or car

exaggerated flonrTheY Produce am

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S

[Ie xnl

312 xxx NATHANIEL STERN

others dor,vn low', ricle bicycles, and run or skateboard. They pull and push each

other, and across each other, and across timcs and spaces-and all across the surfhce

of a large building, rallying bach and forth in size as they move tou'ard or aw'ay fiorn

the liglit. The more creative performers play out complex scenes in the previously

photographed international cities, their sl"radort's enabling them to bicvcle through

Ma,lrid, use real-lvorld umbrcllas to protect virtual Italians liorn the rain, or create

1nulti-armed beasts that grow and shrink as the.y scale building rvalls or invade foreign

lands. They align themselves rvith strangers and fiiends alike, rvith others both

present and absent, in a communally shared and created space'

Tl-rere arc at least two techniqLles of "performxngg"-1v[ich I deflne as "the proccss

of formation"-at play in Lozantl-F{emmer's r'vork. First, there are the u'ays in r'vhich

technology makes-space (and bodies): the carving out of the actual buildings and

square through cxtant architectures; the virtual shaping of our movements through

light and shaJor"; or the anticipated triggers that ask us to align our bodies rvith those

in the artist's imagcs. And second, there are the ways in rvhich our bodies produce

spacc (as u,ell as themselves and each other): our movements and static moments in

tirc large interactivc area; our shador,vs on the buildings; our narratives between both;

,rrd tl-r. images ber-reath them. Here we move-think-feel sPaces and bodies as they

come to be; they are &lwt.ys transfbrming r'vhat and hou'they are,together: both as

conceptual collstructs, and as matcrial "things."11 othcr r,vords, Lozano-l{emmcr's piece is an exemplary intcractive artwork not

only because of the technologl, i1 uses, but also because olthe situatloa it stages and

in which it intervenes. For the purposes of clarity interactit'e art (and interactivc

installatior-rs) can be defined as lvorks of electronic and digital art that feature various

forms of selsors or cameras fbr input; computers, micro-controllers, simple electronic

circuits, or ()ther digital or analogical terminals fbr processing; and any form of sensory

output-audiovisual, tactile, olfactory, mechanical, or otherwise; and u'here all these

a.. pla..d together in a svstem that responds to the embodied participation of itsviewcrs. In these circumstances interactivity is understood as the required Ph)'sical

activitv of a viewer-participant in order to flilly realize a technology-gencrated and

process-based rvork.Althor,rgh this rvay of understanding interactive art may be necessary for the sake of

differentiation and analysis, it establishes a flawed priority: an emphasis on the

computer, sensor) or projection, on the tools lve use rather than the situations they

creare. We focus not *on the dynamic fbrm of expcrience [.'.] It is the fbrm of the

techr-rical object that is cmphasized, f<rr r.vhat it af'fords" (Massumi 2011, 4546)'If we explain rvhat interactive art aiprimarily through technology, then we will com-

preh.rri it as merely a technological object. We should, rather, approach wl-rat

interactive art rtroes----and what ur do-r'vhen it frames our moving-thinking-feeling(or affect). Moving and thinking and feeling are all a part of the same embodied and

embodying processes) and interactive artworks such as Bod.y Moiles stage a rel-rearsal ofsome ot' tlreir possibilities.

posthumanities scholar N. Katherine Hayles makes a distinction bctween the "cul-

turally constructed" bocly that is "naturalized within culture," and our experiences ofembod.iment, which are "contextual, enmeshed within the specifics of place, time,

physiology, and cukure" (Hayles 1999, 196,297). Her distinction is somewhat

pa.allel to l.t^.k B.N. Hansen's, who, fbllowing the early phenomenology of Maurice

irlerleau-pont1., distinguishes between the "b,dy-image" and the "b.dy- schema."

Thc bodv-image is e

visual" or semiotic2006, 37). The bo

constitution" (lIensuseftil in thinkine-rembodiment have iHayles's, because.

perception. Artist rrpotential of Yirtuel chuman, in tvhat shc

ahvays more thxn \\-

must always incluperception.

With interactive e

contextual exPerienc

the body's inscriPtioconcepts, and mattctnot only the constru

processes of en-rbo.lr

that is. it breaks dotBod1 Moiles. for e

and communal sPei

different represental

allor,vs discrete in,li'participant encounlencoLlnter Pertbrmiof this space and iIspaces and bodiesaround the rvorld. Ithcy may or mav n(

a broadly definedspace. The piece litsimultaneoush' acti'

confuses an ongoirus to Practice the re

It inaugurates a c(

bodies and spaces n

ing-feelings should

forces of all thingsAnd interactive arn

rehearsals fbr l'hatLozano-F{emmt

making of bodies. .

boundaries of ourmovements aroun(stories and historitogether. Both sPl

folding, division. .

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pue petrreuaS-.Go1

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,(.rosuas -;o ruro-J .{LJE

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lorr {Jo,{\lJB e.\E-'}eJ

sE qloq :raqteSor 'j.{aqr se sarpoq puriqtoq uee.tuaq sr.rpur slueurolu rrlEls Iernpord sarpoq rn(esoqt qlr,{\ sarpoq nq8no-rql sluarua.\orpue s8urplrnq IEnr:qllq,\\ uI s;(t,\\ atp :ssatoJd eLI],, slr f,ulli

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qlEr qsnd pur IJn(

e[8 &xx t-uv fAlfcvuSlNl

314 rrr NATHANIEL STERN

and grow, live and transform, and shift with the spaces and stories they move with andin and ,Ls their environment. Body and space, here and elsewhere, are implicated inone another, and each presence (or absence) is an incipient action that we feel as

instantiated through movement and relation. Bod.y Moyies effectively and affectivelyintensifies our practices of process, our moving, interrelating bodies and spaces as theycome to matter. Body Moviesl'tas us encounter a complex layering of bodies and space;it frames the performances of embodiment and/with spatialization.

Interaction and Relation

This is not to say that Bod.y Movies, or any interactive artworks for that matter, prod.wce

relational processes, or frame allthat is our relational becoming-with. Interaction andrelation are not the same thing; but they are related.

The recent academic turns to embodiment and affect, process ontology, and thenew materialisms note that all of matter and bodes are active, continuously variable,and relational. Activist philosopher Brian Massumi (2011,2) reminds us that mattergoes liom "something doing to the bare fact of activity; from there to event andchange; then on to potential and the production of the new; coming to process as

becoming." Subjects and objects are inter-given; they only exist as in-process relationsto other in-process subjects and objects, relaying nested movements and potentialsacross themselves and each other, as they continuously form. All is always emergent,and of the relation. Relationality is continuous; it is embodiment's (or materiality's)always-ongoing formation.

The interactivity of software-based digital systems) on the other hand, is pre-programmed. With fbw exceptions, it is a back and forth: "I do tbis and thothappens." There is a danger that we, as participants, are instrumentalized as

interactors, and thus become /rrs dynamic, rather than more so. Interactionbecomes a game with a goal, and we must behave in a specific way to win it.Poorly conceived interactive art can force particular and thus predictivemovements) which then may as well be static because our moving-thinking-feel-ings are pre-formed.

Interaction, as it is understood in the context of digital technologies, is muchmore finite than relationality. While it is responsive, the possible outcomes from ourperformances are restricted. Interaction, in other words, is a limitation. But it canalso act as an amplification. Flere is an apt analogy: a directional microphone canonly pick up sounds directly in front of it, and within a small area; it amplifies whatit hears, for example birds chirping and the sound of soft wind blowing. We, as

Iisteners, do not merely "hear" those sounds, however. We perceive more birds thanwe hear, we feelthe wind blowing, we imagine nature and the morning, the smell ofgrass. Like this directional microphone, or the frame of a canvas, or any work of artfor that matter) interactive art can highlight and magnify particular aspects of being,so that we experience much more than sits in its frame. At its limits, interactiveart d.isrupts our relational embodiment, and thus attunes us to its potentials.Embodiment is per-formed in relation, and interactive art stages us, and oursurroundings, so as to suspend, amplify, and intervene in that very performance.It is a space to experience being and becoming, and to practice potential new modesof their relational emergence.

In her Extet nal -llasystem to track bor

collectively create rr

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"measuring up," a

moving-thinking-tesignification-sitht'external" is also ;

Neither body nor rhighlights bodies :practiced formatior

The first piecefollows our movelangular shapes tha'

along with her seco

where "lines cun'rdynamic tension-Externol Mensuresprocedural animatmovements, makin"Subtle brou'n anr

"scratchy white linarea (Utterback 2

screen by erasingthose left behind bover the compositi2003 thus creates ,r

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gte rrr

316 xxx NATHANIEL STERN

In Utterback's Untitlecl 5 (2004),visual feedback between multiple bodies and theprojection influence one another immediately and over long stretches of time. Theartist's goal was to "create an aesthetic system wl-rich responds fluidly and intriguinglyto physical movement in the exhibit space" (utterback 2005). utterback uses thesame computer vision system from her other works, but introduces more gene rativecomplexities in her pixel painting that are not only affected by moving bodies, but stillbodies, multiple bodies, and absent bodies. The marks thar we trigger and that havebeen cumulatively collected continue to interact with each other even after r,ve haveleft the installation area. The result is a continuous, hauntingll. and haltingly poeticmoving image, which invites participants to make and find meaning in, with, and asembodied relation.

What we see first when entering the interaction area of Untitted 5 is a real-time,bird's-eve view silhouette of our bodies, on an eggshell background, and filled withsketchy, graphite-like, criss-crossing lines. As we move across the space, these sketchedpatterns move along rvith us, while a red colored line, drawn out from our center,maps our trajectories. When we leave the installation, this trajectory line is overlaidwith tiny organic spots. The longer we are still and in the space, the larger these marksare . The tiny points can be pushed from their location by other people's movement inthe space. As they are pushed, they act like sponges of ink or paint being draggedacross Utterback's canvas, leaving streaks and smears of color in their wake. Displacedmarks also slowly return to their original location, making yet more swaths of color.The junctions between past and present movement and stillness, between motionpaths and who does or docs not lbllow them, connect different moments of time,different bodies in space, the conrinuous compositions and how we might read them,as well as the relation between these three.

The behaviors behind Urutitled 5 are never explicidy revealed to its participanrs; thework instead invites us to practice styles of "kinesthetic exploration" (Utterback 2005).The embodied sense of "more ," of a relation to the world's larger goings-on, is alwaysprevalent. For utterback, a "visceral scnse of unfblding or revelatior-r," of both"immediacy and loss" is integral to the work itself. Like the "experience of embodiedexistence itself-a continual flow of uniclue and fleeting moments," Untitled 5 is bothsensual and contemplative in its interactivity (Utterback2005). The tensions she discussesresult from the suspension and thus intensity of our relations, a kind of attunement tohow we interact, sense, and make sense. She does not elicit specific gestLrres or behaviors,but rather has us encounter what movement does, what it makes, and r,vhat it changes.This is to say that-while the interaction is limited by the technologies the artist uses-neither our specific interactive movements, nor the technology, are where our attentiorlis "drawn." Rather, we attune ourselves to the qwality of our and the environment'smoving-thinking-fbelings, to the larger processes of embodiment and sense-making.

with untitled 6 (2005) (Figure 13.1), a work very similar to its predecessor)Utterback carries on with this interactive methodology, but aesthetically shifts to boldgraphics that are less like abstract painting and much closer to minimalist, sculpturalforms-like clay mush dropped from above. And with Abundance (2007), she high-lights public space and social relationships-topics often explored in installation artfrom the 1960s until today-by moving her visuals onto the facade of a three-storybuilding in San lose, and viewer inreractions onto the adjacent public square .

Fach External Mensat,es work-indeed, every moment in which any individualinteracts with the variable traces of other/past participants on screen, in any given

Frcunr 13.1 C.amille I

2008. Photo: Tom Ban

piece in the series-----t-n

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Lle xxx ruv fAll-cvuf.l-Nl

318 rt: NATHANIEL STERN

references happenings, the Situationists, and Fluxus games in Abwn.d.ancr. Viewers'movements inthe ENternel Measares series are a playful reminder of, allusion to, and

interaction with, the literal, historical "art movements" of the past. Participants are

invited ro use the media and materials of art history to physically relate to the images

and trajectories ofpreceding artists/interactors) creating a living collage oftransversal

expressions and explorations. They construct and assemble multidimensionalrepresentations of "embodiment with art" or "bodies and signs" on a two-dimensionalplane, and continuously feed back into that image and process. The variable aesthetics

and interactions that emerge conjure up memories and rememberings of not just

abstract expressionism's embodied splashes ofpaint or,in Untitled.6, minimalism's solid

forms; but also art nouveau's graphic arts; collage and assemblage's found objects and

pasted fragments in formalist composition; constructivists' and futurists' technological

inspiration; cubism's goals of incorporating several perspectives and/or times; Dada's

absurdities; or surrealism's unconscious revealings, to name just a few. These aesthetics

and rememberings stage and intervene in the movement styles of creation, the non-reP-

resentational representations they create, and the relation between the two.External Measwres has us move-think-feel the signifying practices of writing,

drawing, painting, and making art as simultaneously performed and embodyingpractices. We are invited to re-rueru.ber-to embody again-how signs, images, and

the discourses that surround them require bodies in order to be articulated. And bod-

ies, in furn, require signs, images, and discourse for articulation. Here bodies and

signs are continuously inscribed as future memories; remembered as past meanings;

and practiced as presented and re-presented formations between past and future.

Utterback's work highlights that making meaning always requires bodies, and

embodiment always requires that meaning be made. This is art about art and artists,

images and image production, signs and bodies; it invites us to feel and rehearse howwe express, how we are expressed, and how we relate to each of these embodied

processes, both historically, and in the moment. We perform new-but-not-new images

into existence, and these (now preformed) images feed back into how we perform,again. Utterback invokes our relationship with her individual art\,vorks in order toevoke our affective encounters with the work of art more generally. At stake is howmeaning and bodies and matter are articulated and presented through always interact-

ing and relating agencies-conscious and unconscious, human and non-human,

present and non-present, living and otherwise. Here we encounter the relational

sense, the emergent language, the preformed and performed continuiry of art.

Such are not the only encounters that interactors may have with/in the works

discussed by Lozano-Hemmer and Utterback. As situations, they enable an investigation

of implication and impact, of what and how we experience and practice, and of the

relations between meaning- or space-making and materiality in process.

Processing Interventions

Artists such as the ones discussed in this chapter recognize the processual and relational

formation of bodies and spaces, of concepts and images, of communities and theirhistories. They use their work to interrupt and ampli{' the potential in these Processes'But what they stage are not only interventions into process; they are also interventions

in process, always interrupting and interrupted themselves, as they occur; and they are

also interventions fiaffiction is that rvhi(and felt) in our rncreate, transform, an

In encountering a

potential for difttrerfeelings through andbodies, become spac

and with and for thcaccount ofand chan

are the implicationsaccent our potentialr

Scott Snibbe's Scrcainstallations, in s'hicover time. It plals r

frame for potential r

and influence one at

communal rules thatSnibbe's Screen t

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6TE III IUV:lAll-CVU:lfNl

NATHANIEL STEBN

The rectangle 's cdges bend anci ri;lplc and slip arvay lvhcn our sl-radou,'-fingcrs pusl.r orgrab its fbrm. Snibbe scts Llp a qr-rirlq, intcrplay that gestr-rres and mks us to gcsrllre-to\\.arcl the structrlres, fbrms, and games that bodies make, ancl, in turn, tl-re bodies thatstructllres, forms, aud gamcs n.rake. We and the social sprace of his screen are stagcd i1s

cr-rtu'inecl game pllvcrs ar-rd rule rnakcrs, involr.,ed itr a kind of narrative-clrir.en societ1,,

u,hich is perfirrnred [-rv multiplc boc-lies over timc ancl space.Snibbc's Screen series cot-nprises six pieccs altogether, and thc inter.rctions rangc

from leavirrg bel-rind auimated silhouettes or distorting screens, as in Sbodow andCowpliant, to crcatir-rg collaborativc and rnoving sl-radou. clrau,ir-rgs am()ngst severalparticipants (Inopression and Depletioze, both in 2003), ancl plaving interr'rctir.e gatltesof tag,

"r'here projected light illumiuatcs tl-re shadou,s ofthe it-person, and is transfbrre cl

to the next one u,'hen thcir shadorvs touch (.Ooncentration,2003).Some viervers clid not even realize thc rvork's intcractive potential, mercly star-rcling

to tl.re sicle arrcl admiring tl-re cpralitv of light. Snibbe recolults that one \\.oman "reflex-ivclv stepped back" nhcn "the screen pullcd au,al,fl'om her boclv" at flrst eltcountcrtt'ith Compliant (Sirnanorl'ski ancl Snibbe 2006) . After understanding and acclimatingto thc rulcs of the experiencc, shc cr-rgagecl rvith it intirnatclrr, u.aving l-rcr fingers ancitickling the fiamc, or using her tongue to make small irnpressions on thc square'seclge. Anothcr r.ier'ver stared at tl-re n-rcre qualitie s of the scluere rvithout cvcr interacting,r'r,hilc still a third "strocle purposcfullt,ttrrcugh tl-re projection lr,ithout lcloking back.Behind hin-r, the lumiuous rectangle sl-rr,rdclercd and jerked au.ay, distorted fiom a

clean rcctanglc into the rvarped fbrm of a fhllen tissue" (Simar-rou,ski and Snibbe2006). Snibbe's rvork, savs joumalist Cate McQuaicl (2005), "inr.ites drama: oncperson might make r,r,ild gestr-rres; t\\,o people coulcl irct oltt a pantomime." Playfitlintcractions b1, trnci Lrctu,ccrt cacl-r indivic'lual in tl-re space fbed into h<x'i, current andfuture interactors decidedl,r, e11tnt.. Hcre boclies encounter ancl rehearse both not-r-represelttational and signifi.ing moventents both u,ith other bodies ar-rd Sr.ribbe's boclvof lvork-u4rich did, docs, and ivill help to cor-rtinuousll, perfbrrn potcntial narrativesand n.rir-ri comrnunities ovcr the collrse of-an exhibition.

Snibbe's Deelt Wolls (2003), thc height of thc scrics, invites r.ieu'ers to intcractdirectly lvith many bodies at once, and or.er time. This piece basicallv mr"rltiplies theintcraction of Shadow into a grid of sixteen indir.,idual boxes (Figure 13.2). Whenstcpping in bet\\'eell the installation's projector and its projection, vierver participanrscast their shaclou's over the grid, obscuring bodies ancl prarts of the rvl.role, u,hilc a

camera capturcs tl'rcir silhouetted ntovemcnts. Once tl-re1, lsrr. the fiamc of light andtl-reir shaclours are no m()rc, their recorcling is placcd in one of the boxes, replacing anolder film, looping indefir"ritelv alongsidc other clips of bod,v-outlined actions inadjacer"rt boxes. Every xc1i1,s perfbrmance snippet in fiont of this cinematic llerrxriveis tl.rus suspencled, storcd, and re -ir-rvolvecl in one of its comic book-like scllrare liames.Eacl-r supplants an anirnatiorl that was there beforc, and is put alongside filtecn otherssirnilar to but different fronr it.

In Deep Walls, ea.ch shirclorv-bodv has morc than a dozcr-r collaborators in its grid(ri,hich can include groups of people working togetl'rer ol1 ()ne cinemrtic snippct).These perfbrmers oftcr-r tr,v to outdo each othcr, throu,ing thcir children in the airbefore catcl-ring them, kissing or dancing or interacting lvith onc another or otherboxes on screens) doing cartu.hcels or ri'hipping their hair, or somctimes even plal,ingout familiar scenes from classic movie s (I sarv attempts at Indion.a Jonesand Casablarucawhen it \\,as on r.ierv at the Milr,vaukee Art Museum). The accornpanying images

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I'.rn-r arguing th;u,ork are als'avs rlexample, u-c e ach r

and then build ongirller,v-goers u'ili :

interrupt an ongoifbnnation ol Lrotn

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322 rrr NATHANIEL STERN

reaction and interaction as "with." The situation creates a partnering between bodyand screen (as a cultural artifact), body and bodies, body and society-all felt, in andwith and as our bodies.

Deep Wallf performers move and re-move) participate and re-member, their ownbodies along with the organizing, re-moving and re-membering bodies on screen.

In Deep Walls, and Snibbe's work at large, we are creating an embodied and dynamic,relational community within our greater) collaborative community; we experience andpractice the development of social reciprocity, with and through body and bodies.The artist asks us to encounter not only what a body is, blut how it is, and how it is inrelation to others, to society, to culture. And in this, he implicidy argues that wecould-he in fact explicitly provides spaces where we can-rehearse different andperhaps better ways of performing our communities, together.

Strategies of Engagement

My accounts of Lozano-Hemmer's, IJtterback's, and Snibbe's works differ greatlyfrom the promise s ofinteractivity declared by many "digital" advocates. Advertisementsfor new gadgets commonly tell us, for instance, that new media's individual activation,distinctive choice, unique preferences, and never-ending personalization are extremelydesirable in our purchases. This language has dominated what digital and interactiveproducts can and should provide, and what we as a consumer culture ostensibly wantand even need. More specific to "interactivity," the usually ill-defined term has becomea "catch-all phrase that is used to sell many new media technologies as an addedbonus, or special element" (Fuery 2009,27). Simple button clicks on toys and finitemenus in our audio and video players are sold as more choices and thus more demo-cratic and thus freer and inherently better, when in reality what many techno-gadgetshave to offer is often less than underwhelming, and tied to proprietary media formatsor specific streaming services. The notion that "interactive" (art or otherwise) offersmore choice and possibilities, is intrinsically democratic and thus superior, is bothcounterproductive and false. We almost never find a product that actually does all thethings or plays and streams all the files and services we want it to, and the firstinvestigation of any given digital artwork is usually to find out how it works techni-cally (Where is the sensorf \A/hat does it do!) and how rve can circumvent its innerworkings. Furthermore, consumer-based interaction between ubiquitous technologieson social media platforms has been marketed as virtually compulsory in the mostpowerful markets of youth culture. Sites like Facebook or Instagram are all butrequired by peers ofall ages, and are the perfect places to advertise the aforementionedtechno-gadgets.

The use of technologies and strategies for art need not mimic, and can in fact workagainst, the same principles employed for capital gain. Massumi reminds us that the

"regulatory principles of the technical process in the narrow sense are utility andsalability, profit-generating ability." Art, on the other hand, "claims the right to have

no manifest utility, no use-value, and in many cases even no exchange-value. At itsbest, it has event-value" (Massumi 20I1, 53). Art has a right to be "useless": to have

unknown outcomes) or n0 oLttcomes-at least in the traditional sense. Game art, as

one example, can both utilize and speak back to the tiber-marketable gaming console,linear narrative trajectories, violence, and goal orientation. It provides a very specific

context for the inintervention into pr(2002) is an exempgoals, Internet culnaforementioned. A s

or Wii to have us fi:game itself. Arcange(1985) and removesttgood guys" or'baHe modifies the oriscrolling, pixilated r

fellow gamers, hackrgame. Super Msrioencountering and ct

Embodiment's reexploitation for prcarguing that the hforms of capitalism.culture. Contemporentertainment indusbody that is capableideas. Thus, a bodr'that must be apprcmodel used to sell nis still often not the

Contemporan'cupeers tend to use \rothat they are 'goodinvolved in each" t Cand what do lve acc<

Actiyntioru. Pressi(though not necessa

entails. Each is an ac

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Pioneering artist fwith our entire bodie

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324 xxn NATHANIEL STERN

infrared cameras from different angles, and a custom computcr vision system, to cut upa darkened room into thousands of three-dimensional zones. A small selection of thesezones have sound files associated with them: breaking ice or glass, creaking metal,falling rocks, the bursting of flame. fu participants navigate the space, Rokeby's soft-ware senses that movement, and those zones with the most physical activity will triggerthe audio clips associatedwith them across an eight-channel speaker system surroundingthe interaction area. We slowly creep around the edges, tip toe or drag our fbet, jumpand dive to trigger or respond to his complex space and sounds. It is like an audiosculpture we are connected to, a part of, in tune with. Rokeby is an expert at creatingresponsive sonic environments) and this piece builds on his previous work withmovement) sensation, and cross-modal perception. He frames a complete and complexanalogical exploration, within a limited, digital frame. Although both the inputs andoutcomes are numbered, the use of sensors drat read variation (how ruwch motionf ),and the layering of sounds, make Darh Matterborder on, if not a part o1, the next level

of engagement above navigation-what Cook and Graham call reactive or responsive

environments (2010, 114), and what I define as interactive art.The works of Lozano-Hemmer) Utterback, and Snibbe are also solid examples in

this category. Each piece is more than a series of choices between a small range ofinpltts matched to a small number of outputs (a navigable work). Electronic sensors

such as cameras and microphones are complex enough to pick up a range of motion,and the software of interactive artworks responds with more than a mere trigger orsingular path (creating ongoing photographic, or painterly, or complex narrativecompositions). A.nd this encourages styles of movement. While the computer is always

limited in its responses, which are programmed, there are limitless possibilities for howwe investigate and create the space of that program's situation. The re al potential-indeed the real challenge, Manning points out-is to keep the participants' attentionon the quality of their own movements, rather than the response of the machine.Manning implores us to add nuance by making technolog,v's "failures felt" throughtechniques such as lagging, system collapses, and a loss of ground (Manning 2009,72).Manning's point needs repeating time and again to this day, but was made as early as

the 1970s, by interactive arts pioneer Myron lGuger: "The visual responses shouldnot be judged as art nor the sounds as music. The only aesthetic concern is the qualityof the interaction" (Krueger 1977,423424).The "degree of physical involvement"is far more important than "illusion" or "3D scenery" (Krueger 1991,4). Feedbackloops or generative coding, layering of time-based forms, or multiple and proportionalsensors can create ever more affective digital spaces that might highlight the body,interaction, performance, and relation, rather than technology and its coded replies.

Analogical reactive art-electronic or physical work that does not use computer-based algorithms-is slightly different liom its digital counterpart in that it allorvs forunlimited input and unlimited output possibilities in its variation. I put digital andanalogical reactive art in the same category because our experiences of either, at theirbest, are entirely parallel. As Manning eloquently puts it, although in a diflbrentcontext, making "the digital analog need not be the goal"-media art becomes

"evocative when its techniques make transduction felt, foregrounding the metastabil-ity of all moving systems" (Manning 2009,72).In a successful project, we do not justmove in relation, we move the relation (Manning 2009,64).

Although Lozano-F{emmer's installation utilizes a predefined sequence of imageswe trigger, he also has us create complex shapes in real time. Utterback's generative

programming sees otcollaborative paintingof self, which then is r

is a suspended and an

goes beyond the digitAlthough it is not t

what Cook and Grah

computer or anotier 1

movements. ParticiPat least some of theIn the digital art sFplatforms such as Fac

Deep Walls could be,its database, as could I

behind. Finallr', cal/a

piece sees a degree of,of content. Collaborasince it is a reciprocaparticipation, and col

Although the lines

blurred, thev all-as r

emergent relationshi;useful in thinking tlutal art. Here nerr'm<goal, but have the Ftion, and proposidormaterial and concePt

Interactive art is a liWith interactive an.own perfbrmance. Ipractices as the\- are

imply. The goal is ru

techniques and app

accountabiliw s-ith c

The r'vorks discuss

body in an exhibitiovast. They make use

generative coding. ar

outPuts, analog or di

media in combinati<for example, createmotorized u'ood Pi:private setting, Er$:combination of com

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326 rlr NATHANIEL STERN

a miniature robot that tickles our skin, while we lie on a massage table' Between

virtual and actual, Scott Kildall and Victoria Scott's No Matter (2008 ) asks international

participants to model "imaginary objects" such as the Holy Grail or Trojan horse in

tnfine, 3D communities, then makes real-world models of their virtual creations.

Mark Hansen and Ben Rubin's Listening Post (2010) culls large pools of live data

from Internet sources such as chat rooms, bulletin boards, and other public forums,

and translates them into a huge, and physical) structure, as dozens of screens with

scrolling text in a corporeal space. Christa Sommerer and Laurent Mignonneau's

A- uolyi (19g3a,994) is a virtual environment inhabited by artificial living creatures

that are created by visitors, mating and reproducing, and open to outside influences:

the ..touch" of human interactors influences them in various ways. Lynn llershman

Leeson's Dffirence Engine #3 (1995-1998) assigns virtual, 3D avatars to real-world

visitors, and invites o, to ..g"g. with surveillance, voyeurism, digital absorption, and

the spiiitual transformation of the body in technical times. Random International's

Raii Roorn (2012) is a full downpour in a large installation space, where the droplets

part to let you *"ik .hro..gh them, completely dry. And Eyewriter, (2009), by Zach

Li.b.r*r.r, James powderly, Evan Roth, Chris Sugrue, TEMPT1, and Theo Watson,

.,r., .or,o- eye-tracking hard- and software to write and project real-time, digital

graf6ti with tire movements of the participant's pupils. Graffiti artist and activist

igUpf r is paralyzed and has control only over his eyes, and his work was given new

life as he collaborated on the project. The artworks mentioned here are part research,

part philosophy or critical theory, part activism , and all ptt into practice with activity,

tod.huma.t and otherwise. They all use different models of interaction that require

close investigation.Recently, ih" t,.rr.r to what some call the "non-human," and what Erin Manning

calls the .,nrore than human," has led to a renewed interest in ind.irect interactive art,

which does not rely solely on human interaction for its response. Interactive art,

Manning reminds us, has a tendency to place humans "too quickly at the center ofeach exlerience" (Goodman and Manning 2Ol2). Manning's Weather fnttwlt'1(2012;t-his iteration in collaboration with Bryan Cera, Andrew Goodman, and myself)

,r., .l..t o-agnetic sensors that pick up feedback from a large range of data in the

environment, including radio signals, air currents, and all forms of movement-

both tiving and otherwiie. What the system senses is then transduced into both sounds

and signals across more than fifty speakers in a large installation, and into variable

-or.ri.rra, of a hundred yards of hung fabric across the space-the latter swinging

and swaying due to motors and fans that continuously turn on and off' In addition to

the ongoinlg, shifting electromagnetism of the environment that all people (and art

,,ie*.rs) arJ a small part of, the sounds and movements of the installation itself also

feed back into 'ivhat it senses. This creates a complex system where relationality is

amplified as always more than what we, as humans, do and perceive'

Interactive art,s production, experience, practice, and analysis can also lead to new or

different understandings of otheiforms of digital art. What I have called potentialized

a.rt.forexample, is perlformed, or transformed, through some kind of technologically

mediated p.oi.rr. In my own Coru.pressionisru. series of prints (2005 and ongoing), for

example, i r*"p a desktop ,.n ..r..,1rptop, and custom-made battery pack to my bodg

and ..^perform,,^ images inlo existence. I might scan in straight, long lines across tables,

tie the scanner around my neck and swing over flowers, do pogo-like gestures over

bricks, or just follow the wind over water lilies in a pond. The dynamism between my

body, technologr',;then produced as :

such work invests ir

and viewing. Hercofthe image-a re!

to their surroundirtheir production,even if only on a there is a limitationcan be delivered, a

Although inter:trajectories ofart,to be understoodEntangled.: Tecbnt

looks at technolrinteractive enriroKwastek's Aesthctnew media accom

instrumental and;and interpretabiliBod1 ns Perfornencountering intcin-depth case sru(

Taken togethcr.interactive art are

frames and selves'

of becoming, foreand with the enrifeeling perpetuallvarious bodies oflvery best, sets thcus to affect a doulour surroundings,

I This chapter h

Embodiruenx iin their approas process-bas<

Cook, Sarah, and

Cambridge, trUFuery, Kelli.2(X)9

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328 rfin NATHANIEL STERN

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A Conversatio rt." The Fibreculture Jowrnol2l. http:/ /wvenqone'fibreculturejournal'org/fcj-J.52-entertaining-the-environment-a-conversation/ (accessed september tl,2014)'

F{ansen, Mark B.N. 2006. Botties in code: Interfaces with Digitnl Media. New York:

Routledge.Hayles, N]Katherine.1999. How We Becatne Posthwm.an: Virtwol Bodies in Cybernetics,

Lirrrnronr, ond. Inform.atics. Chicago: University of Chicago Press'

Krueger, Myron. it99l-.' Artificinl RealitylL Boston, MA: Addison-Wesley'

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Press.

I-ozano-Hemmer, Rafael. 2001. "Body Movies: Relational Architecture 6-" Absolwte Arts'

http:/ /wtvw.absolutearts.com/artsnews /2001/08/31/29058.html (accessed September

LT,2OL+,Manning, Erin. 2009. Relationscnpes: Morternent, Art, Philosophy. cambridEe, MA:

The MIT Press.

Massumi, Bria1. 2011. sewtblance a.\cd. Etent: Activist Philosophy ond the occwrrent Arts'

Cambridge, MA: MIT Press.

Mceuaid,Cate.2005."InreractiveWorksCapturelnterplayofShadows,Light." TheBoston

Globe,l:une 24.

salter, chris. 2010. Entangled.: Technology arud the Transformation of Perforncance.

Cambridge, MA: The MIT Press'

Simanowski, Roberto, and Scott Snibbe. 2006. "Useless Programs, useful Programmers,

and the Production of Social Interactive Arrworks: Interview with Scott Snibbe'"

D i c h t w ng D ig it a l. http : / / www.di chtun g - dig ital.or g / 200 6/ I - Snibbe. htm ( accessed

September 11,2014).Snibbe, Scott.2003. inodg Screen and Shadow." Sd.n Francisco Media Arts Council

(SMAC) Jowrnnl.Snibbe, scott. 2005. Cornpliant. http://snibb e.com/scott/screen/compliant/index'

html (accessed September 11, 2014)'

Stern, Nathaniel. 2013. Interactiye Art and Enobod.iment: The Implicit Botly as Perfortnonce'

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com/untitledS.html (accessed September ll, 2014)'

Further Reading

Hayles, N. Katherine .2oo2...Flesh and. Metal: Reconfiguring the Mindbody in Virtual

Environments." Confi,gurations l0: 297-320 '

|ones, Caroline A, ed. )OOO. Sr*roniwm: New Melio Coruplexitiesfor Eru.bod'ied Experience'

Cambridge, MA: The MIT Press'

Massumi, Brian. jNC: Duke Uru.._

Massumi, Brian- .

Conversation."html (accessed !

Munster, Anna. 2l

Ilanover, NL{.: I

Rokeby, David. 2

(accessed SePto

Scott, Andrea trL .

http://uss'.n<September I6.

Shanken, Edrvard

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