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Podmiot wobec sztuki interaktywnej

100%
Branicki W.
Estetyka i Krytyka
|
2011
|
issue 2(21)
45-60
EN
This article aims to identify two types of interactivity. The first can be found in the art of speaking a traditional means of expression. The second type of interactivity is created based on computer technology. This distinction has been described on the basis of selected works by Magdalena Abakanowicz and Seiko Miami. In addition, the function was defined human subject in interaction with the work of art. The last point of the article was a comparison of contemplation and interactivity as two types of aesthetic experience. The conclusions indicated that the contemplation based on the assumption talking about the existence of objective meaning. Interactivity is based on the process of constructing meaning. According to the strong thesis of interactivity can be said that any kind of aesthetic experience is interactive, because the meaning is always created in the mind of the recipient. Contemplation leads to the discovery of a meaning that already exists.It also identifies the differences in the meaning of subjectivity in the contemplation and interactivity.
2
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Sensory art

89%
Myoo S.
Art Inquiry. Recherches sur les arts
|
2024
|
vol. 26
29-42
PL
Celem artykułu jest przeanalizowanie właściwości sztuki, która pozwala określić rodzajowość prac artystycznych, jako sensorycznie oddziałujących podczas doświadczenia estetycznego. Oddziaływanie takie dotyczy osoby odbiorczej, która podlega wpływowi sztuki ujawniającej swój podmiotowy charakter lub będącej źródłem dla sensorycznej komunikacji pomiędzy osobami odbiorczymi. Uwzględniono znaczenie interaktywności będącej podstawą responsywności oraz zaproponowano trzy rodzaje oddziaływania sztuki, które charakteryzują taki rodzaj doświadczenia estetycznego.
EN
The aim of this article is to analyse the property of art that allows us to define the genericity of an artistic work as sensorially interacting during the aesthetic experience. Such an impact concerns the viewer who is influenced by art revealing its subjective character or being a source for sensory communication between viewers. The importance of interactivity underpinning responsiveness is considered, and three types of art impact that characterise this kind of aesthetic experience are proposed.
3
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Interweaving Somatic Practice and Theory: A Dancing Researcher’s Aesthetic Experience

63%
Heinrich F.
Przegląd Kulturoznawczy
|
2024
|
issue 4 (62) Krytycznie, etycznie, troskliwie? Sposoby poznania we współczesnych praktykach badawczych, artystycznych I pedagogicznych
586-604
EN
This paper presents a personal, autoethnographic account of how a distinct theory, namely selected aspects of the extended mind theory, can give rise to novel aesthetic experiences while dancing Argentine tango. It illustrates the enhancement of an aesthetic practice that is forged by, but also transcends, the interplay between theory and practice. The report recounts how theoretical propositions regarding the distribution of agency in extended cognition, when applied to a somatic practice, can uncover novel aesthetic experiences and approaches towards the author’s own dance practice. The aesthetic experience is described as the sensation of being danced by the interactions between the dance partners and the music, which afford somatic awareness. Furthermore, the paper emphasises the often-neglected significance of a researcher’s personal inclinations towards and the practical effects of the theoretical propositions they engage with.
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