Abstract
The interaction in the contemporary media art installations can be viewed as a process of transformation as the parts of the installation engage and respond to each other. This paper considers interactive media art as assemblages and argues screens to be gestures of this assemblage. The screens activate and rearrange the relations between the elements of the assemblage by providing multiple connections between them. By examining two artworks, Breath (1991/92) by Ulrike Gabriel and Shadow 3 (2007) by Shilpa Gupta, the paper extrapolates the aesthetic experiences gestured by the screens.
 
 Article received: April 25, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Preliminary report – Short Communications
 How to cite this article: Maithani, Charu. "Screens as Gestures in Interactive Art Assemblage." AM Journal of Art and Media Studies 17 (2018): 147−155. doi: 10.25038/am.v0i17.278
Highlights
The interaction in the contemporary media art installations can be viewed as a process of transformation as the parts of the installation engage and respond to each other
This paper considers interactive media art as assemblages and argues screens to be gestures of this assemblage
Breath (1991/92) by Ulrike Gabriel and Shadow 3 (2007) by Shilpa Gupta, the paper extrapolates the aesthetic experiences gestured by the screens
Summary
The capacity of a component in an assemblage depends upon the capacity of other parts. While the capacity of the television screen is to display images, it does so only in certain conditions, and if those conditions are not met that particular capacity of the object is not utilized. The frame size, quality of the image recorded, and strength of the signal are among several factors that determine the image seen on the screen This means that capacities are relational and are dependent on a number of factors including the relative size of the components interacting.. The capacities of screens in the contemporary media art assemblage are visible in their unique position of being between the machine and the viewers. These potentialities give rise to different experiences for other components of the assemblage. When addressing the gestural agency of screens, firstly the term gesture has to be unpacked
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