Interactive installation
installation is to create space that is site specific, boundaries of installation are endless range from indoor, to outdoor
temporirary, and permennant why?
interactive art where involves audience or spectator to achieve its purpose sometimes requires audience to be part of the work, some work with textual and visual information from outside, some times audience can influence the duration of a performence
some other interactive artworks are considered s immersive as the quality of interaction involve all the spectrum of surrounding stimuli.
my work involves two opposite screen that lead audience in to an immersive expereince drawn to react to the video and sound which is the most basic level, with in your movement and through choice one can only see one side of the screen and can be bound by its reaction to the screen, our subjective view of the screen can explicitly create emotion, and audience could puzzle up the memories that we all commonly share with in living in an urban context.
the Sound bed of the installation ties the environment/ space together, almost like a universal language, as we often find difference in what we see and observe, often it is easier to identity similarities in sounds, rather than the use of visual creating all the memories and pieces in to the spectator. Sonic information can be more universal and can evoke feelings and reaction that are more coherent between the various audience.
sound can become the use of constructive, destructive, can easily manipulate the audience senses with sound, often audience can feel vibrations and sense of touch through various low to high end frequency which is often felt through your ears or body, rather than to actually listening to it.
some of the examples of music that utilise this kind of effects particular is submission orchestra, massive attack, tricky and many more.
define meaning
this installation aims to create something that would interact with the audience everyday experience in urban daily life with in context of five emotions, annoyed, depressed, rage, inspired or clear, information overload, these are everyday experience that tie crucially to our weekly routine.
starting from a depressing first day slowly, become depressed, rage in the middle of the week, feelings slightly inspired almost to the weekend, at night after weekend we feel overload of information and purposely lose track of our purpose once again to feel depressed again.
the purpose of the installation could mean to create a mirror for the audience to reflect on their own lives through this immersive experience, almost like an out of body experience where you go in to your very own conscious or "brain" that however, is uncontrollable at times. under this controllable environment the audience can participate in an feeling of collective consciousness through the installation.
in an increasing number of cases n installation can be defined as responsive environment, especially those created by architects and designers. by contrast, generative art, which may be interactive which may be interactive, but not responsive per person, tends to be more or less a monologue.
the artwork may change or evolve in the presence of the viewer, however viewer may not be invited to engage in the reaction but merely enjoys it.
This is the current trend of the interaction pieces, however, due to lack of conversation and how
often in interactive installation the specificity of interactivity comes from the quality of proposed situations and the others involvement in the process of sense making. nevertheless, computers and real time computing made the task easier and opened the field of virtuality the potential emergence of unexpected (although possibly pre-written) futures - to contemporary arts.
some of the earliest examples of interactive act were created as early as the 1920s. an example
the present idea of interactive art began to flourish 'more in the 1960s for partly political reason'
at the time, many people found it inappropriate for artist to carry the only creative power within their works.
aside from the political view it was also current wisdom that interaction and engagement had a positive part to play with in the creative process.
own taxonomy
installation is to create space that is site specific, boundaries of installation are endless range from indoor, to outdoor
temporirary, and permennant why?
interactive art where involves audience or spectator to achieve its purpose sometimes requires audience to be part of the work, some work with textual and visual information from outside, some times audience can influence the duration of a performence
some other interactive artworks are considered s immersive as the quality of interaction involve all the spectrum of surrounding stimuli.
my work involves two opposite screen that lead audience in to an immersive expereince drawn to react to the video and sound which is the most basic level, with in your movement and through choice one can only see one side of the screen and can be bound by its reaction to the screen, our subjective view of the screen can explicitly create emotion, and audience could puzzle up the memories that we all commonly share with in living in an urban context.
the Sound bed of the installation ties the environment/ space together, almost like a universal language, as we often find difference in what we see and observe, often it is easier to identity similarities in sounds, rather than the use of visual creating all the memories and pieces in to the spectator. Sonic information can be more universal and can evoke feelings and reaction that are more coherent between the various audience.
sound can become the use of constructive, destructive, can easily manipulate the audience senses with sound, often audience can feel vibrations and sense of touch through various low to high end frequency which is often felt through your ears or body, rather than to actually listening to it.
some of the examples of music that utilise this kind of effects particular is submission orchestra, massive attack, tricky and many more.
define meaning
this installation aims to create something that would interact with the audience everyday experience in urban daily life with in context of five emotions, annoyed, depressed, rage, inspired or clear, information overload, these are everyday experience that tie crucially to our weekly routine.
starting from a depressing first day slowly, become depressed, rage in the middle of the week, feelings slightly inspired almost to the weekend, at night after weekend we feel overload of information and purposely lose track of our purpose once again to feel depressed again.
the purpose of the installation could mean to create a mirror for the audience to reflect on their own lives through this immersive experience, almost like an out of body experience where you go in to your very own conscious or "brain" that however, is uncontrollable at times. under this controllable environment the audience can participate in an feeling of collective consciousness through the installation.
in an increasing number of cases n installation can be defined as responsive environment, especially those created by architects and designers. by contrast, generative art, which may be interactive which may be interactive, but not responsive per person, tends to be more or less a monologue.
the artwork may change or evolve in the presence of the viewer, however viewer may not be invited to engage in the reaction but merely enjoys it.
This is the current trend of the interaction pieces, however, due to lack of conversation and how
often in interactive installation the specificity of interactivity comes from the quality of proposed situations and the others involvement in the process of sense making. nevertheless, computers and real time computing made the task easier and opened the field of virtuality the potential emergence of unexpected (although possibly pre-written) futures - to contemporary arts.
some of the earliest examples of interactive act were created as early as the 1920s. an example
the present idea of interactive art began to flourish 'more in the 1960s for partly political reason'
at the time, many people found it inappropriate for artist to carry the only creative power within their works.
aside from the political view it was also current wisdom that interaction and engagement had a positive part to play with in the creative process.
own taxonomy
No comments:
Post a Comment