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1

Dilemma of interactivity

100%
Kluszczynski R. W.
Przegląd Kulturoznawczy
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2006
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vol. 1
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issue 1
31-39
EN
The author takes into consideration the problems of interactive art. He analyzes the subject matter in the double context of social interaction and HCI, examines a structure of interactive situation, its actors, forms of interactions, and interfaces, referring to numerous examples of interactive artworks. Afterwards, with the example of Myron Krueger's oeuvre, he presents the development of interactive art, a conflict between an artistic experience understood as contemplation and the one perceived as an experience of interaction, the development of forms of interactive art understood as interpersonal interaction/communication in technological context, interaction with responsive environment, and finally, a merger of them both. Next, the models of interactive artwork and of the process of interactive artistic communication are presented. Finally, the author presents an open typology of interactive artworks, analyzing them with reference to the instrument work, the game work, the archive work, the labyrinth work, and the rhizome work.
2
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Dokumentacja interaktywnych aspektów dzieł sztuki mediów

100%
Dobrowolska W.
Sztuka i Dokumentacja
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2011
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issue 5
33-53
EN
Media art requires that the traditional documenting methods both improve and work out new tools, allowing the documentation to catch specific features and phenomena associated with the functioning of artworks that include unstable, electronic media. One of the phenomena, a characteristic for many media works is an openness towards the interaction of the audience, who may manipulate the work using many interfaces creating their own performance, as well as modify the work within the framework defined by the artist. According to many researchers and artists, the actual artwork is the result of the activities of 'inter-actors' who experience it. The traditional methods used by art institutions to document the interactive aspect of the artworks is only to a very limited extent successful. The problem of documenting art created by non-standard media (including electronic media) was undertaken as part of many projects, for example: Documentation et conservation du patrimoine des arts mediatiques (DOCAM), Variable Media Initiative (VM), Capturing Unstable Media (CUM) or the thematic residential programs realised by the Daniel Langlois Foundation. However, not all of the above mentioned projects considered that the problem of interactivity and the experience of the audience had been dealt with thoroughly. In many of them a new theoretical ground taking the concept of both the artwork and the role of inter-actors was created. A few of the proposed solutions were quoted in the article. In the text, various strategies of documenting the interactive aspects of media artworks which result from adopting various perspectives and assumptions were described. These strategies oscillate around two opposing terms: interactivity and interaction, as well as the difference between the will to document an ideal representation of the work (according to the artistic concept) and an attempt to grasp how the work functions in real circumstances together with the more or less successful trials of the inter-actors to experience it. Of particular interest seem to be the attempts to document the experience of the audience and then applying the knowledge achieved to work further with the artwork - to protect it, exhibit it in various ways or allow it to communicate further with the audience.
3

PHENOMENON OF DIGITAL ART AS A MEANS OF PRESERVATION OF CULTURAL HERITAGE WORKS

88%
Kryvuts S., Gonchar O., Skorokhodova A., Radomskyi M.
Muzeológia a kultúrne dedičstvo
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2021
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vol. 9
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issue 1
145 – 156
EN
The constant development of multimedia technologies and, as a result, their rapid spread among countries around the world has been a general trend in digital art in the late twentieth and early twenty-first century. This phenomenon, as practice shows, comes out top among other creative activities. With the help of multimedia technologies it is possible to optimize multimedia systems in figurative and meaningful value relations. An important role here is given to the development of a unique multimedia “language”, which harmoniously combines technical, creative and value-oriented components. This article presents an analysis of the use of the subversive method in solving scenario-design problems for the preservation of elements of cultural heritage through the use of 3D mapping and video projection in exhibition space design and for projections onto the facades of architectural landmarks. The content of such video projections and specific characteristics of the artistic images they draw upon depend on the functional purpose of the context in which the interactive work is presented. There remains a need for greater scientific understanding of the phenomenon of interactive art, in the interests of improving professional design practices in the preservation of cultural heritage works.
4
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Konceptualizm i sztuka interaktywna. Analiza polskich przykładow

75%
Kluszczyński R. W.
Sztuka i Dokumentacja
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2012
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issue 6
73-78
EN
Contemporary interactive art, which is created through digital computer technologies, has its roots in the artistic trends of a new avant-garde that developed at the end of the 1950s. Conceptual art played a significant and specific role in this process along with kinetic art, action art, installation and electronic media art. It formed not only a deep logic and framework for neo avant-garde tendencies in art, but also a favourable context to develop participatory tendencies and to prepare the conceptual ground for interactive art. In this complex field of artistic genres of that time, many artworks created had features which allow us to consider them in relation to interactive art. Amongst them, we can find works of such artists as Wojciech Bruszewski and Jozef Robakowski. Their numerous installations and objects from the seventies link conceptual and analytical attitudes with interactive characteristics.
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