Interactivity in Contemporary Art

Interactivity Interactivity in contemporary art

Benjamin Low Teck Hui Interactive Art Level Two Student ID 12406 HP no. 97974063  [email protected]

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

LASALLE College of the Arts © Benjamin Low Teck Hui 2011

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Signed Statement

This paper represents my own work except where otherwise indicated or acknowledged. No  part of this essay has been or is concurrently con currently submitted for any other qualification at any other  academic institutions. Signed: ___________________  Name: ___________________  Student ID number: ___________________ 

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Introduction

As Marshall McLuhan famously said in his book Understanding book Understanding Media: The Extensions of Man (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 f study. The medium of mass 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  corporations to reach out to audiences.

In the world of art, the invention inven tion of the camera, with the mechanical mech anical reproducibility of  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 image to produce video art works. The invention of the Internet in the 1990s led to Net art being popular in the 1990s.

Riding on the ubuiquity of the Internet, artists have been quick to use the Internet to share 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 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 interactive in nature.

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

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

From Modernism to Post-modernism

Tracing the history of how art has evolved evo lved since the 1950s, there is clearly c learly a movement away from the traditionally defined forms of painting and sculpture towards other aesthetic  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.

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 art, it is probably Conceptual Art that has exe rted the most influence. The Dada movement was much in part a reaction to the industrialization of warfare and the mechanical reproduction of  texts and images, while the Pop Art movement move ment arose from an engagement with commercial c ommercial culture.

The term ‘Conceptual Art’ was first coined by Sol Le Witt in his influential essay  Paragraphs of Conceptual Art (1967). Art (1967). He says “In conceptual art the idea of concept is the most important aspect of the work …. all planning and decisions are made beforehand and the execution is a perfunctory (done in a manner of duty) affair...the idea becomes the mac hine that makes the art.”

art (1996), Robert C. Morgan described In Art In Art into Ideas: essays on conceptual art (1996),

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conceptual art as “a significant and innovative innov ative method or type (not of style) of artistic practice 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 postmodernism, and is an art-historical conduit between the Industrial and Information Age.

Conceptual Art lays the foundation

Art (2002), Edward In his essay Art essay Art in the Information Age: Technology and Conceptual Art (2002), A. Shanken writes that “conceptual art emerged during a moment of intensive artistic experimentation with technology”. He also argues that the apparently disparate genres of ‘Conceptual Art’ and ‘Art and Technology’ Techn ology’ have parallels and are reflections and co nstituents of broad cultural transformations during the information age.

In a manner very similar to how interactive art can be described, Shankens writes that “In interrogating the relationship between ideas and art, c onceptual art de-emphasizes the value traditionally accorded to the materiality of art objects. It focuses, rather, on ex amining the  preconditions for how meaning emerges in a rt, seen as a semiotic system.” In an interactive artwork, the audience actively engages the artwork within a system of sign exchange and cocreates its meaning within the semiotic framework created by the artist.

Art critic Jack Burnham, who curated the exhibition Software, Information Technology:  Its New Meaning for Art (1970, Art (1970, Jewish Museum of New York), mentioned in “Systems Esthetics” that there is a sense that with software technology, “art had traversed from the object to the idea, from a material definition of art to that of a system of thought”.

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Burnham also expressed his interest in how a “dialogue evolves between the participants pa rticipants - 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 communication that he anticipated emerging in art. He foresaw that art would become more and more interactive.

Thus, interactivity in art can be seen as an extension of conceptual art in its heavy 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 idea or concept, paving the way for interactivity to be seen as part of experiencing the concept of the artwork.

Interactivity in art arrives

Originally, interactive media grew out of developments in e lectronic computer games 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  imaginative experience. Jane Veeder, Nancy Burson, and Ed Tannenbaum created different genres of interactive work 1.

 Net Art was popular in the 1990s, 199 0s, allowing artists to circumvent the traditional 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 My boyfriend 

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Digital Currents Art in the Electronic Age, p190

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

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 for example). Open source tools such as a s PureData for sound, Processing/ Cinder/ openFrameworks for programming, the Android development kit for phones, the Arduino 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 commercially), means that there are now easily accessible and affordable tools for anyone to create interactive artworks.

PART 2 - Features of interactivity in contemporary art

The reference artwork 

Krzysztof Wodiczko’s Tijuana Projection (part of InSite 2000) is one of the best examples of a contemporary interactive artwork that critically fulfills the criteria of what good art should be. Hence I will be using this artwork as a reference subsequently for the rest of this this  paper.

In this public intervention, women working in the maquiladora2 industry of Tijuana, Mexico wore media technology designed to project their faces onto El Centro Cultural (a spherical building that served as an excellent canvas for the human head) as they spoke

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assembly plants in Mexico near the border with the United States

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emotionally of incest, police abuse, and work place discrimination in real time. As participants, their speech was courageously offered at great risk to themselves for the purpose of moral and  political change.

The art of the interactive narrative

The narrative has always been a dominant cultural force. All artworks tell a story. Traditional media such as the novel, television, theatre or cinema usually has a narrative with a classical beginning, middle and end, with the communication being a one-sided affair from the artwork to audience.

However, with new digital media, the storytelling can be entirely morph-able, elasticised and randomised into a non-linear narrative na rrative that moves front and back, sideways or up or down. The non-linear relates to our daily experience of the real world, which we can c an affect in many ways whereas traditional media only allow us to watch on as spectators with no power over  how the story plays out. Stories can be structured like ga mes using the interactive grammars of  multiple image streams. These kinds of stories do not offer the closure of linear narratives, but  place the participant in the centre ce ntre of the story-telling space3.

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Digital Currents Art in the Electronic Age, p193

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In Conversation Pieces: The Role of Dialogue in Socially-Engaged Art , Grant Kester  writes about art projects that “mark the emergence of a body of contemporary art practice concerned with collaborative, and potentially p otentially emancipatory forms of dialogue and conversation... In these projects conversation becomes an integral part of the work itself. It is re-framed as an active, generative process that can help us speak and imagine beyond the limits of fixed identities and official discourse”.

One of the idealised functions of art is to effect positive broader socio-political change in the world through representation of truth via aesthetic mea ns. Through the audience’s experience of the artwork, a new kind of perception about the world emerges. This kind of aesthetic knowledge could then be translated into concrete action that will play a pa rt in shaping reality, of  which the artwork is a simulacra of, in its attempt to communicate reality.

The Tijuana Projection allows the narrator, the one who dons the media helmet and whose face is projected onto the building, to tell her personal story of suffering. She is free to say whatever she wants, and whatever she says is a reflection of her own personal real experience. 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 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.

Towards an aesthetic of experience of context over form

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In New In New Art in the 60s and 70s: redefining reality, reality, Rorimer writes that “The expansion of art’s thematic parameters to include issues of context has led to the redefinition of traditional 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 interwoven support structures, which encompass the institutional (museological), economic, cultural, political, and historical as well as the purely architectural.” Interactivity in art is a continuation of this thrust towards emphasising context over form.

Interactivity in art means that there is a freedom from the aesthetic confines of form 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 alter the artwork in some way. The form does d oes not matter. The artwork could be in the form of  environmental architecture, something wearable or as part o f a performance process in theatre. 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.

Kester writes of socially-engaged art practitioners:- “Parting from the traditions of objectmaking, these artists have adopted a performative, process-based approach. They are ‘context  providers’ rather than ‘content providers’, … whose works involves the creative orchestration of collaborative encounters and conversations conve rsations well beyond the institutional boundaries of the gallery or museum.” Artists can now focus on shaping the experience of the artwork a rtwork by defining its context rather than form.

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The Tijuana Projection is an artwork whose content is not created c reated by the artist (Wodiczko), but decided by the user u ser of the artwork (the woman narrator who wea rs the helmet). 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 maquiladora industry. This kind of open-ended content is uncharacteristic of artwork other than an interactive one which allows the user to create their own content. The form is not primary, but is chosen to fit the contex t, not the other  way round. I would also argue that the Tijuana Projection offers a powerful aesthetic experience which will be elaborated later. The point for now is that the aesthetic of experience e xperience eclipses the aesthetics of form in this artwork, since the focus of the artwork is not on its form (which is the helmet) but rather, the audience’s experience, which is what the audience would remember of the artwork.

The mediation of space

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  understood as a system of interdependent processes4.’” This can be especially be effective when the site itself becomes part of the context in site-specific artworks. Interactive art can break down the boundaries between viewer and environment.

Another example of how interactive technologies can bear on the representation and  perception of space is in the form of virtual reality environments. Powerful computers are used

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Hans Haacke, quoted in Burnham’s “Systems Esthetics”, p35.

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to generate visual experience and to track body movements through the use of prosthetic devices such as data gloves, head-mounted displays and body suits which encase the body in fiberoptic cabling. Here, artists have full control over all the objects or all the spatial coordinates and sound in order to create an aesthetic effect. There is full body participation, a shared telecommunications space, multi-sensory feedback, third person participation and unenc umbered approaches. There is little critical literature on virtual reality environments at this point in time, and this medium is an exciting unexplored frontier 5.

Interactive technologies have the capability capa bility to transform public space into a space for art to happen. Surveillance and telepresence is a recurring motif in interactive art, and ca n bridge or  collapse geographical distances. Telepresence, or experience from a distance, can be achieved through the use of web cams and remote controlled robots. Rafael Lozano-Hemmer'sVectorial  Lozano-Hemmer's Vectorial   Elevation (2000) allows Web site visitors to maneuver robotic spotlights from afar, creating  patterns in the sky above public plazas. The theme of surveillance in artwork a rtwork has risen with the sophistication of surveillance technologies such as networked cameras, biometric identification systems, satellite imaging and data mining, as artists raise the issue of institutional surveillance and the invasion of privacy. For example, exa mple, Marie Sester’s ACCESS  Sester’s ACCESS (2003) (2003) casts a beam of light on those who pass beneath its electronic eye, like that of a spotlight on a prisoner. The camera 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 ‘victim’ that only the ‘victim’ can hear 6.

The Tijuana Projection features interactive technology that transforms the public plaza

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Digital Currents Art in the Electronic Age, p206-208

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Digital Currents Art in the Electronic Age, p19-20

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in front of the El Centro Cultural into a space for the experience of art. At night, the light  projection on the dome facade is a captivating presence, especially when the personal space of  the narrator is juxtaposed onto the public pub lic space via the live image of the woman’s face. This offers an intimate experience for the viewer, be ing immersed in another person’s decorporealised 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 through the co-conscious interaction of the senses. The woman’s presence is perceived as a gestalt whole, with the imagined associations a ssociations of smell and touch through the mere visual and audio sensation. The site-specific nature of the work  also uses the context of the environment e nvironment as part of the artwork. The site is the Culture Centre of  Tijuana, a space associated with the identity of the place through its people, history or customs. The choice of site also means that the audience will consist of members of the local community who are empowered to create change within their own community. The artwork thus mediates space to create a powerful aesthetic of experience.

Summary

In part 1, I argued that interactive art is most heavily influenced by conceptual art as a arthistorical antecedent, arising from a heavy engagemen t with technology. Conceptual art moved the emphasis from the aesthetics of form towards the aesthetic of the artwork’s concept or idea, made possible by new technological means mean s of art representation. Interactive art also arose from the 1990s onwards from new technological means which were already predicted in the 1970s, coinciding with the rise of the Information Age with the advent of the Internet. 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

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aesthetics of experience of the artwork’s context ove r mere form; and finally, through the 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 The of The Tijuana  Projection by  Projection by Wodiczko to illustrate these points.

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Conclusion

Our daily stream-of-consciousness experience is based on phenomenology. We take in information about the world through our senses. We then interpret the sensory information to create our own meaning according to cultural norms of perception. Embodied knowledge is thus mediated by our senses7. 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 simultaneously. This enhances our experience of the artwork.

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parahrased from Sensorium: embodied experience, technology and contemporary art 

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Bibliography

Books: 1. New Art in in the 60s and 70s: 70s: redefinin redefining g reality. reality. Anne Rorime Rorimer. r. Thames Thames and Hudson. Hudson. 2004. 2. Digital Digital Currents: Currents: Art Art in the Electr Electronic onic Age. Margot Margot Lovejoy Lovejoy.. Routledge. Routledge. 2004.

Articles: 1. Conversation Conversation Pieces: Pieces: The Role of Dialogue in Socially-Engage Socially-Engaged d Art. Grant Grant Kester. Kester. 2004. 2004. 2. Art in the the Information Information Age: Age: Technology Technology and Conceptual Conceptual Art. Edward Edward A. Shanken. Shanken. LEONARDO, Vol. 35, No 4, pp433-438. 2002. 3. Sensorium, Sensorium, embodied embodied experience, experience, technology technology and contemporary contemporary art. Caroline A. A. Jones. Jones. 2006.

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