“... Still today, we have people are timorous of the modern devices, closed in their hidebound mentality, creating an impassable wall ..."
often this behavior is determined by the lack of knowledge of these new devices, media and from the fear that these can overtake traditional tools; but that segment of art which uses traditional instruments will never end, it will keep on what it always did; but characteristics and potentials are different,
but both types can coexist !
Who uses traditional instruments are not ousted from the great questions of contemporaneity, because what really matters is the the expressed concept, and the original way in which it is expressed.
The presence of technology in arts has lead to changes that affect the work of art, the spectator, the fruition of the work, the exposition spaces, the artist and its way of working.
The presence of technology in arts has lead to changes that affect the work of art, the spectator, the fruition of the work, the exposition spaces, the artist and its way of working.
This contributes to the formation and spreading of new formal languages, that partecipate to modify the whole arts system and cultural routine themselves.
Especially pc encourages a deep change in our existence, changing our experience of the work of arts, the spectators, and the artist”.
Especially pc encourages a deep change in our existence, changing our experience of the work of arts, the spectators, and the artist”.
THE WORK
With the new technological and digital means the work of art is open, changeable and no longer bounded in itself, it establishes a brand new relation with space and spectators; it is no longer enclosed in a frame rather it gets out of, experiments new ways, moves towards new realities. This tension is not only about the work itself, but also about the place in which it happens, its fruitor. This expansion of the image towards the outside happens in installations, in which the work of art interacts with the environment itself, that becomes part of the work, and it extends to the spectator, too, making him the creator of the of the work itself.
In interactive arts the fundamental element is this interaction between the work, the environment and the spectator, whom is called to act with image and sound, bringing continuous change without modifying its aesthetic sense, perhaps participating to the artistic process.
With the new technological and digital means the work of art is open, changeable and no longer bounded in itself, it establishes a brand new relation with space and spectators; it is no longer enclosed in a frame rather it gets out of, experiments new ways, moves towards new realities. This tension is not only about the work itself, but also about the place in which it happens, its fruitor. This expansion of the image towards the outside happens in installations, in which the work of art interacts with the environment itself, that becomes part of the work, and it extends to the spectator, too, making him the creator of the of the work itself.
In interactive arts the fundamental element is this interaction between the work, the environment and the spectator, whom is called to act with image and sound, bringing continuous change without modifying its aesthetic sense, perhaps participating to the artistic process.
THE SPECTATOR
In this context, the spectator is no longer a passive observer, but is active and participates to the creation of the work itself, cooperating with the artist. This involvement is nothing new, but it has to be looked for in kinetic art, in the field of Fluxus, in the happenings, performances and video art; we see CCTV video installation, where the subjects of the shots are the visitors walking around the exhibition.
The usage of technological instruments allow the spectator to be free, there’s no need of a guide to walk one through the fruition nor exclusive locations for the fruition of the work. The audience can get close to the work on different levels, physically and metaphorically. With these new means, the work becomes open, it becomes modifiable, no longer closed to itself, and it establishes a new relationship with space and audience, there is no “official version”, there are no environments deputy to be welcomed, protected and preserved; it is a work that lives and acts in a transcultural and multi context dimension.
In this context, the spectator is no longer a passive observer, but is active and participates to the creation of the work itself, cooperating with the artist. This involvement is nothing new, but it has to be looked for in kinetic art, in the field of Fluxus, in the happenings, performances and video art; we see CCTV video installation, where the subjects of the shots are the visitors walking around the exhibition.
The usage of technological instruments allow the spectator to be free, there’s no need of a guide to walk one through the fruition nor exclusive locations for the fruition of the work. The audience can get close to the work on different levels, physically and metaphorically. With these new means, the work becomes open, it becomes modifiable, no longer closed to itself, and it establishes a new relationship with space and audience, there is no “official version”, there are no environments deputy to be welcomed, protected and preserved; it is a work that lives and acts in a transcultural and multi context dimension.
THE PERFORMANCE
Beginning from the 60s together with artistic events and that traditionally and conventionally have been considered “Performances” (such as theatre, dance or music) have been joined by others. New expressive modes have established themselves, which are no longer placable amongst the traditional disciplines: Performance Art, Mixed Media, Happening, Intermedia have crossed the boundaries between artistic genres and also have the exigency of surpassing the borders that separate arts and life. So the performance becomes part of the sensorial perception process and of the reality, and builds the conclusive phase. In the moment that the individual percepts the a specific phenomena it tends to commemorate images of one’s own past experiences and to live them again in an emotively charged condition, that builds a cross connection between past and present events.
Beginning from the 60s together with artistic events and that traditionally and conventionally have been considered “Performances” (such as theatre, dance or music) have been joined by others. New expressive modes have established themselves, which are no longer placable amongst the traditional disciplines: Performance Art, Mixed Media, Happening, Intermedia have crossed the boundaries between artistic genres and also have the exigency of surpassing the borders that separate arts and life. So the performance becomes part of the sensorial perception process and of the reality, and builds the conclusive phase. In the moment that the individual percepts the a specific phenomena it tends to commemorate images of one’s own past experiences and to live them again in an emotively charged condition, that builds a cross connection between past and present events.
The new technical/creative activities that surround these new works, so, start to allow a new way of comprehending the realization of the experience, introducing a new perspective for the spectator, as a participant too the installation. Anna Munster argues that the aesthetic of the digital culture “has reconfigured the body experience and rethought materiality”.
An holographic installation has something unique to offer, as long as the reactive image is not only simply the product of a digital process, but it results in being a physical unicum wrapped in the installation: the hologram, and so its overall aspect, depend from the scenography setting that is subsequently designed. All of this affects of the final result: the choice of the background and its insertion in a coordinated context, in which the position of the audience, their movements and the interaction with the elements are programmed and choreographed.
The observer in a contextualized performance of an Advertainment event is engaged with the Brand and becomes Consumer, in social marketing he understands the Cause and becomes Supporter.