Abstract
Contemporary art, particularly that which is produced by computer technologies capable of receiving data input via interactive devices (sensors and controllers), constitutes an emerging expressive medium of interdisciplinary nature, which implies the need for a critical look at its constitution and artistic functions. To consider interactive art as a form of artistic expression that files under the present categorization, implies the acceptance of the participation of the spectator in the production of the work of art, supposedly at the time of its origin / or during its creation. When we examine the significance of the formal status of interactivity, assuming as a theoretical starting point the referred premises and reducing it to a phenomenological point of view of artistic creation, we quickly fall into difficulties of conceptual definitions and structural apories [1]. The fundamental aim of this research is to formally define the status of interactive art, by perpetrating a phenomenological examination on the creative process of this specific art, establishing crucial distinctions in order to develop a hermeneutics in favor of creation of new perspectives and aesthetic frameworks. What is interactive creation? Is interactivity, from the computing artistic creativity point of view, the exponentiation of the concept of the open work of art (ECO 2009)? Does interactive art correspond to an a priori projective and unachievable meta-art? What is the status of the artist and of the spectator in relation to an interactive work of art? What ontic and factical conditions are postulated as necessary in order to determine an artistic product as co-created? What apories do we find along the progres- sive process of reaching to a clarifying conceptual definition?This brief investigation will seek to contribute to the study of this issue, intending ultimately, and above all, to expose pertinent lines of inquiry rather than to provide definite scientific and aesthetic answers.
Highlights
The artistic object, considered in its functionality as a formal manifestation of a content that is revealed through a form of expression, is structurally anchored to the creative process that generates it
What is interactive creation? Is interactivity, from the computing artistic creativity point of view, the exponentiation of the concept of the open work of art (ECO 2009)? Does interactive art correspond to an a priori projective and unachievable meta-art? What is the status of the artist and of the spectator in relation to an interactive work of art? What ontic and factical conditions are postulated as necessary in order to determine an artistic product as co-created? What apories do we find along the progressive process of reaching to a clarifying conceptual definition?
The exposed theoretic approaches appear to us within the light of an aesthetic of proactivity, regarding the reception of works of art, underlying the emphasis, more than legitimate, of interactivity being the result of relationships between the elements of the creative process, forgetting the point of view of the phenomenon itself as a productive act, dismissing what seems to be the strongest argument, and from which we will proceed to our analysis: the creation, i.e, the artistic production regarded as causal force, as the formal logical starting point out of which we will perspective the status of interactivity
Summary
The artistic object, considered in its functionality as a formal manifestation of a content that is revealed through a form of expression, is structurally anchored to the creative process that generates it. The interactivity one can observe on computing / digital art works, and in particular those that are produced for real time interaction [2], implies the intervention or participation of the public (spectator[s]) This form of human-machine relationship is realized through the interaction with external devices that are receptors of coordinates which translate into numeric calculations (a data flow) that in turn correspond to events / artistic results. This kind of artistic creation has been increasingly integrated in contemporary art, but lacks a cohesive source of reflection that clarifies the implications of these new intertwined approaches. In order to sharpen the focus of this analysis, we should briefly analyze aesthetic perspectives that will allow us to set up a proper framework for this subject
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
