CARITA MARSILI 'S ACADEMIC RESEARCH REPORT PUT THROUGH PAPERRATER.COM ON SEPTEMBER 29TH AT 9 AM. THIS IS NOT PLAGARISM, I AM USING AN ONLINE GRAMMER CHECKER.
Adams, Marianna, Moreno Cynthia, Polk Molly, and Buck Lisa. The Dilemma of Interactive Art Museum Spaces. Art Education 56.5 (2003): 42-52. Web.
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 metaphorical representations for instead a tangible space. 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 …show more content…
The author positions that as a result of a shift in art culture and history, the world of interactivity has expanded our human creativity simply through digital technologies. Each interactive work studied has disruptive features that can be studied with four theories; cultural, functionalist, experience and techno-futurist. The author uses various concrete examples, but predominantly focused on the example of Camille Utterback’s, Text Rain. When an audience participates the art becomes a concentration on their experience and thus examines the theories of disruptive aesthetics. The author believes Camille’s work examines the text falling around the human form to be disruptive from its traditional means of the printed world into a symbol of play, with a method of disruption. These techniques of disruption are demonstrated in three theories; disruptive rule, disruptive community, and disruptive role. Ultimately, an audience dictates the meaning of the work through its interaction. The meaning of the piece changes when they subvert from interacting with the piece that the artist intends. A sense of pleasure arises from the subversion as from breaking these rules and ultimately changing the meaning, or interact with this work that has ultimately manipulated the meaning of the piece from the start. This source is important as it chooses to focus on the …show more content…
Which then entails the need to have a computer, and proper software. Is interactive art only for the educated, or at least self-educated? It seems art has always found a way into a higher class system. As well, another option to study is the fascination with interactive artwork. Is this a temporary phase, although it has its power, could dancing with text simply become old? Or would it hold onto its meaning like the collages of Michael Duchamp? In summary, each of these articles complimented each other on how transferring our society to digital and interactive art, the pieces are changed in various
Adams, Marianna, Moreno Cynthia, Polk Molly, and Buck Lisa. The Dilemma of Interactive Art Museum Spaces. Art Education 56.5 (2003): 42-52. Web.
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 metaphorical representations for instead a tangible space. 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 …show more content…
The author positions that as a result of a shift in art culture and history, the world of interactivity has expanded our human creativity simply through digital technologies. Each interactive work studied has disruptive features that can be studied with four theories; cultural, functionalist, experience and techno-futurist. The author uses various concrete examples, but predominantly focused on the example of Camille Utterback’s, Text Rain. When an audience participates the art becomes a concentration on their experience and thus examines the theories of disruptive aesthetics. The author believes Camille’s work examines the text falling around the human form to be disruptive from its traditional means of the printed world into a symbol of play, with a method of disruption. These techniques of disruption are demonstrated in three theories; disruptive rule, disruptive community, and disruptive role. Ultimately, an audience dictates the meaning of the work through its interaction. The meaning of the piece changes when they subvert from interacting with the piece that the artist intends. A sense of pleasure arises from the subversion as from breaking these rules and ultimately changing the meaning, or interact with this work that has ultimately manipulated the meaning of the piece from the start. This source is important as it chooses to focus on the …show more content…
Which then entails the need to have a computer, and proper software. Is interactive art only for the educated, or at least self-educated? It seems art has always found a way into a higher class system. As well, another option to study is the fascination with interactive artwork. Is this a temporary phase, although it has its power, could dancing with text simply become old? Or would it hold onto its meaning like the collages of Michael Duchamp? In summary, each of these articles complimented each other on how transferring our society to digital and interactive art, the pieces are changed in various