Interactive Artwork Research Articles

관람자의 참여유도를 위한 인터랙티브 아트 연구 - 작품 “Touch”를 중심으로

인터랙티브 미디어 아트는 관람자의 참여를 통해 작품이 완성되기 때문에, 기존의 예술작품에서 수용자였던 관람자는 적극적인 참여자로서 그 역할이 확장되었다. 작가는 관람자의 감각을 자극하여 호기심을 이끌어 낼 수 있어야하며, 단순히 호기심에 그치지 않고, 참여로 이어질 수 있도록 관람자의 흥미를 유도할 수 있는 요소들을 생각해야 한다. 인간은 몸의 경험으로 감각을 수용하며, 자신의 내면의 생각과 감정을 몸을 통해 외부로 표출하여 타인과 소통한다. 다시 말해 인간의 몸은 그 자체가 복합적인 감각의 집합체인 동시에 상호적이다. 그렇기 때문에 인간의 신체는 상호작용과 공감각적 몰입을 강조하는 인터랙티브 아트에서 교감을 이루는 매개체로서 적합하다. 작가는 관람자의 흥미를 유도하기 위해 인터렉션이 가능한 환경을 이해하고, 인간의 몸에 대한 연구가 선행 되어야 할 것이다. 인간의 몸은 단순히 작품을 작동하는 장치가 아니라, 감정에 대한 인식, 즉 감성을 표현하는 감각의 확장으로서의 인터페이스가 되어야 할 것이다. 본 논문은 “Touch”를 중심으로 앞서 언급한 내용들을 연구하고자 한다. “Touch”는 작품과 관람자의 교감장치로써 심장박동을 사용하여 ‘삶이 시작한다.’ 라는 메시지를 빛과 소리로 표현하여 소통하고자 했다. 관람자는 자신의 심장박동을 보고 느끼며 강한 몰입을 할 수 있다. 또한 관람자들이 간단한 조작으로 쉽게 사용할 수 있도록 직관적인 인터페이스와 인체공학적 디자인으로 설계하였으며, 관람자가 작품을 인지하지 못 하더라도 청각적 자극을 통해 호기심을 유발하여, 유사 홀로그램으로 표현된 자기 자신의 얼굴을 보고 흥미를 느끼며, 작품에 참여할 수 있도록 설치했다. Touch를 기획, 제작하면서 관람자의 흥미를 유발하기 위한 장치를 사용한 기술을 소개 하고, 구현과정에 대한 정보를 제공하여, 미디어아트의 특징, 그리고 인간의 신체에 대한 다양한 담론과 지식을 전달하고자 한다.

EEG and Sonic Platforms to Enhance Mindfulness Meditation

<p>This paper explores interactive applications that encourage mindfulness through sensors and novel input technology. Research in psychology and neuroscience demonstrating the benefits of mindfulness is initiating a new movement in interactive design. As cutting edge technologies become more accessible they are being employed to research and explore the practice of mindfulness. We examine three interactive installation artworks that promote mindfulness. In order to contextualize the interactive artworks discussed we first examine the historical background of the Electroencephalogram (EEG). We then discuss the physiological processes of meditation and the history behind the clinical practice of mindfulness. We show how artists and designers employ EEG sensors, to record the electrical activity of the brain to visualize mindfulness meditation practices. Lastly, we conclude the paper by discussing the future of the three artworks.</p>

The Designing and Realization of Digital Interactive Media Art based on Activity Theory

Activity theory presents a broad and conceptual framework of analysis for HCI (Human Computer Interaction). As media art matures and becomes accepted as an art form, a theoretical and conceptual framework for its analysis and evaluation is needed. Activity theory studies the level of connection between the individual, community and society in a broad sense, and the connection's process of development is studied through different human practices as a philosophical base. As a branch of structuralism, activity theory analyzes the connotations of meaning in human activity and not the activity itself. Activity theory comes to researchers of interactivity, intuitively. The reason for this is that activity theory provides a common language in comprehending the delivery of meaning from an interactive art work, in the cultural and societal sense. In order to understand the activity of the participant of the artwork through activity theory is to clarify the purpose of the activity involved, pinpoint the elements of influences in the activity systems; the artist/designer can thoroughly plan the interactive art elements, and ultimately comprehend the apprehension of the participants. The pragmatics of the system transcend its uses into artist meaning and message through the participant own history of cultural and societal experiences.

Creating Emotion-Sensitive Interactive Artworks: Three Case Studies

Emotion-sensitive artworks provide a challenging yet rewarding locus of activity. After a comparative review of the situation in art and music with respect to emotion research, three innovative, interactive and emotion-sensitive artworks are described. The Emotion Light (2009) is an interactive biofeedback sculpture in the shape of a light-emitting uterus that responds by changing color depending on the arousal level of the person holding it. In a State (2014) and BioCombat (2015) are generative, interactive live performance systems that detect emotion from audio or live biosignals, respectively, and create abstract animations and electroacoustic music in response.

Madeira Story Generator: Prospecting serendipitous storytelling in public spaces

In the light of the increasing adoption of participatory culture means by general consumers, this paper describes the design process, evaluations and discussion on four studies on public interactive storytelling system addressing findings and limitations in regards of its participatory nature. Previous bodies of work within interactive artworks and public displays cite difficulty in attracting passersby attention. Through an iterative design process and refinements to the storytelling concept, we advanced our experience of the mechanics of digital storytelling’ and passersby engagement within each space studied. This paper aims to share our research highlights, encountered difficulties and how the applied evaluation methods stood up to the task within public spaces that aren’t as easily accessible for research, such as airport terminals. Our findings further seek to go beyond a traditional technology-centered approach while examining the relationship between individual, object, and public spaces.

Fiction and curatorial practice: developing alternative experiences for digital artistic prototypes

ABSTRACTIncreasingly, digital artworks are developed as part of research endeavours, and respond to a cultural climate which values co-creation, practices of tinkering, re-cycling or re-purposing and innovation. As a consequence, these works tend to be unstable, constantly open to change and to the intervention of possible collaborators. Because of such openness to transformation and their involvement in knowledge production and sharing, they can be considered as prototypes, and generate ne'w opportunities for curatorial practice. This article introduces a curatorial project developed around one such artistic prototype, the Eye Resonator, and based on the idea that audience experience can be structured or transformed by speculatively relating the piece to alternative uses and everyday life contexts, different from its role as an interactive artwork. Our strategy is inspired by design methodologies based on the use of fiction, and imagines scenarios where the technological specificities of the piece can be repurposed. This intervention was partially intended to respond to a series of problems encountered in previous showings of the piece, and aims at scaffolding the participant experience by providing, through the scenarios, additional cultural references and entry keys to approach the prototype.

DreamArchitectonics: An Interactive Audiovisual Installation

This article presents the processes that guided the production of the interactive artwork DreamArchitectonics, attempting to render perceivable the altered experience of time characteristic of the dream-state. This project originated with the observation of dream reports that were revealed, across a broad variety of contents, to be relatively invariant in form, with this form appearing to function as a mnemonic artifact allowing the dreamer to actually remember dreams. The details of the representational process applied to oneiric time and manifested in these artifacts have been identified to resonate meaningfully with poetic expression, especially in its relationship to the sensation of movement. DreamArchitectonics aims at producing the context for an experiential synthesis of this intuition and acting as the generator of phenomenological data in a disposition that the authors envision as the most fruitful for collaboration between arts and sciences.

Living Poetry.

We introduce three of our interactive artworks that translate text into artificial creatures or creatures into text by means of user interaction. These installations make use of experimental literature, media archaeology, surrealism, artificial life, and algorithmic methods.

Emergence, Agency, and Interaction-Notes from the Field.

This article describes the development of several interactive installations and robotic artworks developed through the 1990s and the technological, theoretical, and discursive context in which those works arose. The main works discussed are Petit Mal (1989-1995), Sympathetic Sentience (1996-1997), Fugitive I (1996-1997), Traces (1998-1999), and Fugitive II (2001-2004)-full documentation at ( www.simonpenny.net/works ). These works were motivated by a critical analysis of cognitivist computer science, which contrasted with notions of embodied experience arising from the arts. The works address questions of agency and interaction, informed by cybernetics and artificial life.

Ambient interaction and situational influence: case studies in public sites

An audience's direct physical intervention is widely believed to be instrumental in the field of interactive art. However, this long established expectation faces new challenges through the increasing accessibility of a growing diversity of interactive technologies and ubiquitous smart media. Such innovations are often fully integrated components of interactive public artworks, many of which do not directly involve audiences or individuals as key agents in the functional or aesthetic realisation of the work. Based on three case studies of interactive artworks in public places, this article identifies an important characteristic of interactivity in interactive art, through the largely unexplored concept of “Ambient Interaction” in which artworks are embodied and enacted through environmental conditions and situational influences rather than exclusively through people's intentional and direct physical engagement.

Emergence in Interactive Artistic Visualization

This research draws on theories of emergence to inform the creation of an artistic and direct visualization. This is an interactive artwork and drawing tool for creative participant experiences. Emergence is characteristically creative and many different models of emergence exist. It is therefore possible to effect creativity through the application of emergence mechanisms from these different disciplines. A review of theories of emergence and examples of visualization in the arts, is provided. An art project led by the author is then discussed in this context. This project, Iterative Intersections, is a collaboration with community artists from Cerebral Palsy League. It has resulted in a number of creative outcomes including the interactive art application, Of me with me. Analytical discussion of this work shows how its construction draws on aspects of experience design, fractal and emergent theory to effect perceptual emergence and creative experience as well as to facilitate self-efficacy.

Sound Art at Burning Man: Sonic Interventions in an Extreme Environment

The Burning Man Festival occurs annually in the Black Rock Desert of Nevada in the US during the week leading up to Labor Day, which occurs on the first Monday of September. The festival began in 1986, and has evolved to become a city of interactive artworks created by participants who agree to build, live in, celebrate, and then remove all traces of the event. Recent years have witnessed a large array of works that employ sound as an important, and often primary, component. These works range from acoustic-object sound installations to works that use amplified sound and varying degrees of electronics. Many are installations that easily become sites for performance and expression by participants who encounter and interact with them, and some works play off this explicitly. Others take the form of sounding devices that respond to their environment as a whole. There are also a number of instrument designers and inventors who bring new creations to share with the community. Each exists within, and plays a part in, Burning Man's unique urban soundscape. Here, we will investigate the various critical environmental and social factors that must be taken into account when creating sound-based artworks for Burning Man, through the lens of several representative examples from recent festivals, including work created by the authors.

Multi-sensuous Mediator: Evolutionary Interactive Art through Network

Recently, as information communication network is expanded as a result of development of network, interactive art work that may be changed in real time transcending time and space is produced and implemented. In order to achieve interactive communication relation among the audiences through art works, temporal, spatial limitation is transcended. Participation of the audiences is implemented in a form of interaction and mutual exchange between art works and audiences is represented through interface of art works. After the art work is reacted by the audiences and has a formative transformation for a behavior, it affects not only art work itself but also environment among audiences. In this study, randomly connected structural environment of network is created by manufacturing multi-sensuous mediator that gives emotional immersiveness (flow) to the audiences. And audiences are making an advanced network by a process of generation, extinction and consolidation of community through a system. By storing multi-sensuous mediator in information of random majority, created customer information sometimes becomes extinct by other customers and it passes through a consolidation process in a process of a sharing activity. Communication space among audiences is formed by making dynamic network environment through participation of audiences in an interactive art work.

Interactive sensory objects for and by people with learning disabilities

This project engages people with learning disabilities as co-researchers and co-designers in the development of multisensory interactive artworks, with the aim of making museums or heritage sites more interesting, meaningful, and fun. This article describes our explorations, within this context, of a range of technologies including squishy circuits, littleBits, and easy-build websites, and presents examples of objects created by the co-researchers such as "sensory boxes" and interactive buckets, baskets, and boots. Public engagement is an important part of the project and includes an annual public event and seminar day, a blog rich with photos and videos of the workshops, and an activities book to give people ideas for creating their own sensory explorations of museums and heritage sites.

Aesthetics of interaction in digital art

Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike. Kwastek, herself an art historian, offers a set of theoretical and methodological tools that are suitable for understanding and analyzing not only new media art but also other contemporary art forms. Addressing both the theoretician and the practitioner, Kwastek provides an introduction to the history and the terminology of interactive art, a theory of the aesthetics of interaction, and exemplary case studies of interactive media art. Kwastek lays the historical and theoretical groundwork with discussions of processual strategies of twentieth-century art and theories of aesthetic experience, process aesthetics, play, and performance. She then develops an aesthetics of interaction, discussing such aspects as real space and data space, temporal structures, instrumental and phenomenal perspectives, and the relationship between materiality and interpretability. Finally, she applies her theory to specific works of interactive media art, including narratives in virtual and real space, interactive installations, and performance—with case studies of works by Olia Lialina, Susanne Berkenheger, Stefan Schemat, Teri Rueb, Lynn Hershman, Agnes Hegedus, Tmema, David Rokeby, Sonia Cillari, and Blast Theory. -- [flap of the book jacket]

Affordance expressed in interactive art - focusing on cases of interactive art works of 2013 ARS Electronica -

본 연구는 인터랙티브 아트와 어포던스 이론의 관계를 비교하기 위해 2013 Ars Electronica 인터랙티브 아트 부문에 수상 된 작품사례들을 조사·분석하고 인터랙티브 아트에서의 어포던스 요소 제안을 통하여 인터랙티브 아트의 발전과 어포던스의 확장 가능성을 추구하는 데에 그 목적이 있다.<BR> 연구의 방법과 범위는 문헌연구, 인터넷 검색, 전문가 면담 등을 통하여 인터랙티브 아트와 어포던스 이론에 대한 개념 정립을 하였다. 정립된 이론과 인터랙티브 아트 작품사례 분석을 근거로 어포던스 유형별 분류 가능한 인터랙티브 아트의 속성들을 비교하여 인터랙티브 아트 내에서 검토되어야 할 어포던스의 역할에 대해 제안을 하고자 한다.<BR> 디자인 분야에서 활발하게 연구되고 있는 어포던스는 타 분야와의 활용이 필요하며 이에 종합적이고 이론적인 연구가 진행되어야 할 것이다. 현재 인터랙티브 아트는 다채로운 영역확장과 더불어 관객과 작품, 관객과 관객 간의 상호작용적 관계를 이끌어내고 있다. 본 연구를 통해 인터랙티브 아트의 상호작용 지점에 대한 이론적 고찰과 어포던스의 수용에 따른 확장 가능성을 기대한다.

QR Codes and Traditional Beadwork: Augmented Communities Improvising Together

QR Codes and Traditional Beadwork: Augmented Communities Improvising Together

Some Ontology of Interactive Art

Lopes (2010) offers an account of computer art, which he argues is a new art form. Part of what makes computer art distinctive, according to Lopes, is its interactivity, a quality found in few non-computer artworks. Given the rise in prominence of such artworks, most notably videogames, they are surely worthy of philosophical inquiry. I believe their ontology and properties are particularly worthy of study, as an understanding of these will prove crucial to critical understanding and evaluation of the works themselves. Lopes’ account of interactive art is novel and important, but flawed, and in this essay I will discuss its flaws and suggest a better account of the properties of interactive art that builds on his work, providing a partial account of the ontology of interactive art. In Section 1, I discuss Lopes’ definition and ontology of interactive art; in Section 2, I argue that he only accounts for the properties of displays, neglecting the properties of interactive artworks themselves. In Section 3, I discuss several possible solutions for Lopes and why they are inadequate before Section 4 presents my view, that interactive artworks possess all of the properties of their varying displays because each possible display is part of the artwork. This is compatible with Lopes’ definition of interactive art, and so much of his account can be preserved, but with a refined account of the properties of interactive artworks. What I present is by no means a complete ontological study of interactive art, but hopefully lays the groundwork for future work on this ontology.

Concepts, Water and Reflections on Practice

This paper discusses the nature of the conceptual structure in art practice, by example. It draws on insights gained from a practice based research (PBR) approach to making art. The PBR methods used include Reflective Practice and are briefly described. They have informed an understanding of the conceptual structure as an instance of problem framing. This is demonstrated by two creative examples, taken from two interactive artworks. These were informed by an evolving conceptual structure concerned with water.

Interactive Video Installation of Phenomenological Landscape Using a Custom Sensitive Fabric Map as Human Interface

This paper illustrates the process of a geo-spatial interactive artwork that involves the invention of a fabric sensor for a map to function as an input device. A squeezing motion on the sensitive fabric map results in a corresponding downscale of a video and audio space realized in an art installation. The invention of the fabric sensor, which measures the degree of squeeze of the grasped fabric, uses a combination of woven conductive threads and resistors. The fabric map sensor showed sufficient performance in realizing the initial concept into a form of interactive video artwork: “How would we perceive the world if God wrinkled the earth?” The artwork is discussed in terms of Phenomenological Landscape.