CARITA MARSILI 'S WORK SUBMITTED ON SEPTEMBER 30 2016 TO PAPERRATER.COM NOT PLAGARISM
Adams, Marianna, Moreno Cynthia, Polk Molly, and Buck Lisa. “The Dilemma of Interactive Art Museum Spaces.” Art Education 56.5 (2003): 42-52. Web. Accessed 26 September 2016.
This paper analyzes the conversion of contemporary interactive art through its intentions to influence youth culture with creative play, but ultimately sacrifices the deeper excruciation of art and its representations. The author presents two main issues, the challenge of interactive art to educate and its challenge to interrelate. Through concrete examples he proposes the sensitivity of interactive mediums in a physical and emotional variable. Due to the wide use of quantitative examples, …show more content…
In terms of social and philosophical issues, both Disruptive Aesthetics for Interactive Artwork and Art Education’s: The Dilemma of Interactive Art Spaces examined the successes and issues with interactive art spaces in a tangible space. Nonetheless, the article that best compiled factual evidence was Art Education’s. Examples such as the Art Sparks Interactive Gallery in which interactive art has come to life to both benefit the artistic society, as well as hinder it, the authors prove the social and intellectual benefits move to a digital interactive space. Every author agrees that there are limitations within the interactive art world, when the interactivity is put at a halt or disillusion due to confusion or misinterpretation in interaction. What none of the authors covered that I would question, is the dilemma of interactive art spaces for those who are immobile or have issues with mobility. When a person can’t interact with art, does that change its …show more content…
This is similar to Walter Benjamin’s theory of aura as, “mechanical reproduction liberates the work of art from its parasitical dependence on ritual (INSERT THING). From Utterback’s Text Rain, textual artwork is powerful in alternate digital mediums. Roberto Simanowski’s, Digital Anthropophagy closely analyses how when people interact with Utterback’s Text Rain, they can repurpose the meaning of the poem falling from the sky and the words take liberation from the digital container they are put in. But what the author fails to do is use any methodologies of qualitative research to prove this point. He merely just subjects his opinion on how Text Rain and other pieces of art must modify and withhold this power of innovative transformation of text, without getting any opinions from users of the art. This point sticks with me as it proves the power and movement, we as an emerging digital culture have as we open up this type of
Adams, Marianna, Moreno Cynthia, Polk Molly, and Buck Lisa. “The Dilemma of Interactive Art Museum Spaces.” Art Education 56.5 (2003): 42-52. Web. Accessed 26 September 2016.
This paper analyzes the conversion of contemporary interactive art through its intentions to influence youth culture with creative play, but ultimately sacrifices the deeper excruciation of art and its representations. The author presents two main issues, the challenge of interactive art to educate and its challenge to interrelate. Through concrete examples he proposes the sensitivity of interactive mediums in a physical and emotional variable. Due to the wide use of quantitative examples, …show more content…
In terms of social and philosophical issues, both Disruptive Aesthetics for Interactive Artwork and Art Education’s: The Dilemma of Interactive Art Spaces examined the successes and issues with interactive art spaces in a tangible space. Nonetheless, the article that best compiled factual evidence was Art Education’s. Examples such as the Art Sparks Interactive Gallery in which interactive art has come to life to both benefit the artistic society, as well as hinder it, the authors prove the social and intellectual benefits move to a digital interactive space. Every author agrees that there are limitations within the interactive art world, when the interactivity is put at a halt or disillusion due to confusion or misinterpretation in interaction. What none of the authors covered that I would question, is the dilemma of interactive art spaces for those who are immobile or have issues with mobility. When a person can’t interact with art, does that change its …show more content…
This is similar to Walter Benjamin’s theory of aura as, “mechanical reproduction liberates the work of art from its parasitical dependence on ritual (INSERT THING). From Utterback’s Text Rain, textual artwork is powerful in alternate digital mediums. Roberto Simanowski’s, Digital Anthropophagy closely analyses how when people interact with Utterback’s Text Rain, they can repurpose the meaning of the poem falling from the sky and the words take liberation from the digital container they are put in. But what the author fails to do is use any methodologies of qualitative research to prove this point. He merely just subjects his opinion on how Text Rain and other pieces of art must modify and withhold this power of innovative transformation of text, without getting any opinions from users of the art. This point sticks with me as it proves the power and movement, we as an emerging digital culture have as we open up this type of