Interactivity In Art Essay

Rathnasambhava, the Transcendent Buddha of the South and Madonna Enthroned are very similar images that were produced by very different cultures. Both images were produced during the 13th Century. The image of Rathnasambhava, the Transcendent Buddha of the South was produced in Tibet during an interesting period of the country’s religious history. The branch of Tibetan Buddhism is led by a religious and sometimes political leader called the Dalai Lama. It was during the 13th Century during the reign of Kublai Khan, around the time of the production of this painting, that Tibet experienced the first incarnation of the Dalai Lama. One has to wonder if this painting is somehow related to that occurrence. According to

As art slowly develops through the twentieth century, moving past voyeurism and historical art where it promotes passive spectatorial consumption, the role of the audience has evolved too. From the traditional historical passive visitor in perspective and panoptic spaces, art has gradually evolved into turning the spectator into an active contributor who not only engages with the work but also becomes the co-author in its creation and completion. Claire Bishop points out, “art must be directed against spectatorship, against the passivity of the masses paralysed by the spectacle of modern life”. This not only applies to art but to objects, image, stories, films etc.

This artwork is a contemporary work which enmeshes various fields into itself. Hart takes elements of the world of fashion, technology, literature and music to create something which could be negotiated as avant-garde work of performance including sculpture and virtual reality. It talks about a world where all

In humans’ traditional concepts, artists always capable who can create really excellent works, the are gifted, and transmit their ideas to audiences by their works. However, for audience, they always passive to accept the art ideas by sense judgment. The incompleteness in art means that when artists create art works, they make them incompletely by the medium, and give audience chance to complete that by their own comprehensive. Artists should not worry about the art works presenting with incomplete, and it gives art works more possible to present more ideas to people. One artist has defined that “Incompleteness is by definition a built-in dimension in interactive media art. It cannot be anything but incomplete by the very fact that each work is always altered by external factors. In fact, the entire field of digital media is, by definition, incomplete, as it may be infinitely modified and recomposed.” In other words, audiences in incompleteness art is motivated to have courage of actions. The artist is become participants, facilitator or curator instead of just an artist.

Each generation presents us with the different varieties of artistic expression. The prevalence of art impacting society has always been constant. With the many forms of artistic expression that exist, it is also easy to see how an individual can test out the different options available to them until finding a specific form that suits their tastes. When this happens, the artist and viewer create a special mutually beneficial relationship. This is evident in the article, “Memory, Money and Persistence: Theater Of Social Change in Context” written by Arlene Goldbard. . Goldbard used her article to expose the concept of social awareness and performances that are relevant to and can even change the open world outside of the arts. This is evident

No artist illustrates more concrete art than the 20th century avant-garde artists, but one in particular during the 60s, Lygia Clark’s work based on perception and interaction. This period was best known for artists that were considered pioneers of Latin America avant-garde. These groups of artists returned from Europe, where they took part in cutting-edge movements such as Cubism and Constructivism. Clark’s work illustrates more vocabulary into the interactive and materiality than any other during her time. She contributed to the development of a unique vocabulary of interactivity, merging the body-mind duality, focused primarily on the subjective and psychological-sensorial experimentation. Clark’s work responds to aesthetic dimensions and unexplored links between the viewer and the artwork making the viewer a participant. Clark’s work based on participation can only be understood if the viewer-participant physically interments with the work. Using resources from different books and journals from scholars, this essay explores this question of viewer-participant, using a series

In his essay, “The Re-Emergence of Emotional Appeals in Interactive Data Visualization”, Charles Kostelnick compares printed data to language by noting media’s limited ability to stimulate thought and send a relatable message. Kostelnick states these two modes of messaging can evoke empathy or fear in an audience, but for what purpose? As his essay unfolds, he makes it clear that messaging must be multi-faceted – implementing color, interactive elements and animations – to truly evoke a substantial response in the viewer. This dissection seems to parallel many elements and stylistic approaches film uses to captivate its audiences.

In the unceasing act of time, change is considered a mutually exclusive act on the world, its unprejudiced nature therefore unifying elements of our world through the basic understanding of transformation. Such transformation has may be clearly seen in the tradition of art, as medium, material and subject have refined, added, and evolved preexisting notions of art. Since performance art’s introduction as a legitimate method of artistic expression in the early 20th century, it has become a implicit in the world’s unbiased action of change, and therefore has evolved in the passing of time. As performance art was created in part to challenge orthodox norms within art and culture, as the world’s evolution lead to more nuanced understanding of

Growing up in the country, spending most of my time out of doors in the fields and woods I became thoroughly immersed in the sights, sounds and smells of nature. The natural world, down to the most insignificant seeming grain of dirt, seems alive, mysterious and full of wonder. Being outside, experiencing the endless richness, variety and beauty of earth and the natural world first hand is a deeply spiritual experience. My wish is to absorb, understand and share this marvel thoroughly as possible through painting. Painting, which makes thought and feeling visible, rendering the invisible visible, is also a meditation on nature closer to poetry than description. In retrospect, embarking on a life devoted to painting it now seems only natural that the landscape would be my primary choice of subject matter.

Olafur Eliasson is a Danish- Icelandic artist who is credited for his sculptures and large scale instillations that reflect nature through the use of elements such as light, air temperature and water to enhance the audience’s experience of the work. The boundaries of different disciplines, within Eliasson’s works, are often blurred and technology is used to serve his artistic vision and further his ideas; enhancing his work and forcing the audience to solely focus on the subject without being distracted by the technology. Eliasson comments the most exciting part of his art-making is, “the moment where the fact that it is digital will go unnoticed, and the fact that it is art will be the focus.” Technology assists Eliasson’s art-making to progress

As mentioned above, Craig holds the notion that these puppets or uber-marionettes will bring about a revival in modern theatre. This revival has to do with the reforming of the governing laws of theatre and acting as an art. In his essay, Craig interprets art as the desired expression of an artist’s thoughts, emotions,

In recent years, a form of performance which relies as much on the audience as it does an artist has be growing increasingly popular among those who appreciate the meta. There is a sort of curiosity associated with participating in art and the creation of art which is refreshingly different from what is often found in performance. In this paper, I will focus on the audience and their role in watching, thinking about, interpreting, and changing performance art, I will not be interested in the intention of any artists. It is especially important to focus on the interactions and feelings which are formed from attending and participating in performance (even if that participation is simply viewing). Thus, the works that I will be examining will have no spoken words because I feel that words serve to distract from the interpretation of audience-in-performance that I will put forth. Therefore, the pieces I have chosen are a kind of Invisible Theatre (a term that I have co-opted from Augusto Boal), this Invisible Theatre serves as the foundation of the analysis I will offer and is crucial to the discussion of the role and effect of audience (277).

Jonas attained a Degree in Art History in South Hadley from Mount Holyoke a college in Massachusetts. After which, at the school of the Museum of Fine Arts she studied sculpture and drawing and got a MFA from Columbia university in sculpture in 1960. She has also studied and worked with Yvonne Rainer a choreographer and Trisha Brown for two years. She first used video in performance in 1972 in ‘Organic Honey’s Visual Telepathy where monitor and live camera were used as device for masking and mirror as metaphorical devices in order to transform and lay images, time and space. She would apply phenomenological properties. Jonas has shown the use of subjects and objectives through personal vocabulary, self-examination and idiosyncratic. Through the use of drawings, she has added content and texture

This essay will focus on why and how conceptual artists sets out to destroy or undermine the value of physical pleasure in art's making and reception. In order to discuss this issue, first we need to look back on history to examine the historical context of Conceptual Art. During 1960s, the world is in a turbulent state experiencing all sorts of crises . After the World War One and the World War Two, the traditional value and institutional system had been overthrown. The collapse of old world politics, social order and authority, moreover, rise of Feminism, racial conflict between white and black, intervention of Vietnam War forced artists to challenge the conventional system and authority. In terms of technology, after the invention of

One may wonder how much did The Information Age really contribute to society and, more specifically, the visual arts, technology, and philosophy. The Information Age, as defined by Gloria K. Fiero, is “dominated by radical changes in the technology of communication and the way we receive and process information” (Fiero, 476). The Information Age paved the way for several brilliant artists to not only share their work, but create their work. Artists, such as Andy Warhol, expressed their artistic abilities in the most unimaginable, yet creative approaches. In the case of Andy Warhol, Warhol created pop art, which artistically expresses popular culture in means of creating a compelling commercial advertisement. Furthermore, in the realm of