Toward the Origins of Interactive Art Response
Söke Dinkla's Toward the Origins of Interactive Art examines interactive art's inception and relation to early Futurist and Dadaist ideas as well as its implications in regards to art genre and theory. Like other unorthodox and non-traditional means of art, interactive art developed outside of conventional art institutions. Artists like Marcel Duchamp, Max Ernst, John Cage, and Allan Kaprow would go on to re-imagine the possibilities and applications of audience participation in a work.
What stood out to me in this reading was the relationship between the artist and the audience rather than the one between art and audience. It's easy to assume that the interaction of a piece has an inverse relationship with the authority of the artist in their own work, but Kaprow's Happenings illustrate that participation exists on the edge between artistic liberation and manipulation. How is the artist using the audience as a medium with which to work with?
The reading touches upon cyborg art, which is something I have been thinking about a lot lately because I have been doing research on the artist Ken Goldberg for another project. Goldberg's work falls under the umbrella of "cyborg art" because it consists of man-made machines that act in ways similar to biological organisms through user feedback. This cyborg art exemplifies the characteristics of performance and interactive art in the sense that it bridges the gap between life and art (especially in our ever increasing digital age). As our daily lives become more digital and automated, it only makes sense that interactive art imitates life through robotics, artificial intelligence, digital media, and cyborgs.
"From Participation to Interaction: Toward the Origins of Interactive Art." Dinkla. Soke. In Clicking In: Hot Links to a Digital Culture, by Leeson, Lynn Hershman. pp 279-290. Bay Press, 1996. (12 pages).
What stood out to me in this reading was the relationship between the artist and the audience rather than the one between art and audience. It's easy to assume that the interaction of a piece has an inverse relationship with the authority of the artist in their own work, but Kaprow's Happenings illustrate that participation exists on the edge between artistic liberation and manipulation. How is the artist using the audience as a medium with which to work with?
The reading touches upon cyborg art, which is something I have been thinking about a lot lately because I have been doing research on the artist Ken Goldberg for another project. Goldberg's work falls under the umbrella of "cyborg art" because it consists of man-made machines that act in ways similar to biological organisms through user feedback. This cyborg art exemplifies the characteristics of performance and interactive art in the sense that it bridges the gap between life and art (especially in our ever increasing digital age). As our daily lives become more digital and automated, it only makes sense that interactive art imitates life through robotics, artificial intelligence, digital media, and cyborgs.
"From Participation to Interaction: Toward the Origins of Interactive Art." Dinkla. Soke. In Clicking In: Hot Links to a Digital Culture, by Leeson, Lynn Hershman. pp 279-290. Bay Press, 1996. (12 pages).
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