“If images are to become increasingly experiential, then a theory of
representation must be evolved to account for the transaction provoked by
participation” –Timothy Druckrey
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The Entry of ‘Interactivity’ onto the art scene
has caused critics to revise what they call people who enjoy such art: museum
goers or viewers that have become participants, players, and users.
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For the artist they have a purpose and intent of
what they are creating but what participants do with this content has numerous
variations.
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Critically, interaction introduces a new task
for those who would try to evaluate it.
o Example
is Bill Seaman three Screens from Passage
Set/One Pulls Pivots at the Tip of the Tounge, 1995: In this interactive
installation visitors press ‘hot spots’ areas highlighted on screen, that call
up further images in an ongoing unfurling of fragmented images and texts.
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Interactivity also provides for artist concerned
with social issues the opportunity to involve viewers in very heightened ways.
o Example is American artist Paul Garrin’s
White Devil 1993: places viewers in the midst of an imagined neighborhood.
As the viewers pass through the gallery space surveillance cameras track their
movements and vicious dogs appear on the video monitors to scare them away:
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The Artist has now become a facilitator of the
art experience with the interactive artwork becoming, in a sense, an extension
of education, a hands-on type o creative learning.
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Interactive cinema using original as opposed to
appropriated imagery is immensely complex and costly.
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In a 1995 essay, Another Dip into the Ocean of
Streams of Story, Grahame Weinbren, also a writer and theorist said: “We
compress excerpt, exclude and reorganize when we tell stories about ourselves.
If interactive cinema is a more faithful rendering of reality, it is precisely
because it can bypass..criterua of narrative structure.
o Example: Grahame Weinbren three still from Sonata,
1991/93: by pointing at the screen at any time the viewer is able to
reconstruct the narrative of Sonata and see alternate views of the same
situation. For Weinbren, this is a new form of cinema, an interactive cinema
that involves a moment by moment collaboration between the viewer and
filmmaker.
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Outside the text Examples:
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