“... 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 !
Those who use traditional instruments are not excluded from contemporary discussions because what is truly important is the concept being expressed and the unique way in which it is conveyed. The integration of technology in art has led to significant changes in the art itself, the experience of the viewer, the ways in which art is exhibited, the artists themselves, and their creative processes. This has resulted in the development of new formal languages, which are actively reshaping the entire art system and cultural practices. In particular, the use of personal computers has caused a profound change in our existence, altering our experience of art, our relationship with art as spectators, and the creative process for artists.
THE WORK
The use of new technological and digital means in the arts has revolutionized the work of art itself. Rather than being bound to a fixed frame or medium, the work of art can now establish new relationships with space and the spectator, becoming open and changeable. This new tension is not only about the work itself but also about the place in which it happens and the audience that interacts with it. Installations, for example, enable the work of art to interact with its environment, becoming a part of it, and extending to the spectator as well, who can become a creator of the work. In interactive arts, the fundamental element is the interaction between the work, the environment, and the spectator. The audience is called to act with image and sound, bringing continuous change without modifying the work's aesthetic sense, and perhaps even participating in the artistic process.
The use of new technological and digital means in the arts has revolutionized the work of art itself. Rather than being bound to a fixed frame or medium, the work of art can now establish new relationships with space and the spectator, becoming open and changeable. This new tension is not only about the work itself but also about the place in which it happens and the audience that interacts with it. Installations, for example, enable the work of art to interact with its environment, becoming a part of it, and extending to the spectator as well, who can become a creator of the work. In interactive arts, the fundamental element is the interaction between the work, the environment, and the spectator. The audience is called to act with image and sound, bringing continuous change without modifying the work's aesthetic sense, and perhaps even participating in the artistic process.
THE SPECTATOR
In this new context, the role of the spectator has shifted from that of a passive observer to an active participant in the creation of the work itself, working in cooperation with the artist. Although this type of involvement is not new and can be traced back to kinetic art, Fluxus, happenings, performances, and video art, it is now being facilitated by technological instruments. For example, CCTV video installations capture shots of visitors walking around an exhibition, making them part of the work itself.
The use of technology allows the spectator to be free and there is no need for a guide or exclusive locations for the work to be experienced. The audience can engage with the work on different levels, both physically and metaphorically. With these new means, the work becomes open, modifiable, and no longer confined to itself. It establishes a new relationship with space and the audience, with no “official version” and no need for environments to be welcomed, protected, and preserved. It exists as a work that lives and acts in a transcultural and multi-context dimension.
In this new context, the role of the spectator has shifted from that of a passive observer to an active participant in the creation of the work itself, working in cooperation with the artist. Although this type of involvement is not new and can be traced back to kinetic art, Fluxus, happenings, performances, and video art, it is now being facilitated by technological instruments. For example, CCTV video installations capture shots of visitors walking around an exhibition, making them part of the work itself.
The use of technology allows the spectator to be free and there is no need for a guide or exclusive locations for the work to be experienced. The audience can engage with the work on different levels, both physically and metaphorically. With these new means, the work becomes open, modifiable, and no longer confined to itself. It establishes a new relationship with space and the audience, with no “official version” and no need for environments to be welcomed, protected, and preserved. It exists as a work that lives and acts in a transcultural and multi-context dimension.
THE PERFORMANCE
Since the 1960s, new expressive modes have emerged that go beyond traditional performance art forms such as theatre, dance, and music. These new forms, such as Performance Art, Mixed Media, Happening, and Intermedia, blur the boundaries between artistic genres and strive to overcome the borders that separate art from life. In this way, performance art becomes part of the sensorial perception process and of reality itself, ultimately leading to a conclusive phase. When individuals perceive a specific phenomenon, they tend to recall images of their past experiences and relive them in an emotionally charged state. This builds a cross-connection between past and present events, further blurring the boundaries between art and life.
Since the 1960s, new expressive modes have emerged that go beyond traditional performance art forms such as theatre, dance, and music. These new forms, such as Performance Art, Mixed Media, Happening, and Intermedia, blur the boundaries between artistic genres and strive to overcome the borders that separate art from life. In this way, performance art becomes part of the sensorial perception process and of reality itself, ultimately leading to a conclusive phase. When individuals perceive a specific phenomenon, they tend to recall images of their past experiences and relive them in an emotionally charged state. This builds a cross-connection between past and present events, further blurring the boundaries between art and life.
The technical and creative activities associated with these new works allow for a new way of understanding the experience, which introduces a new perspective for the spectator as a participant in the installation. Anna Munster argues that the aesthetic of digital culture has reconfigured the experience of the body and has challenged our ideas about materiality. With the use of technology in art, the spectator is no longer limited to a passive role, but becomes an active participant who can shape and influence the work. This creates a unique relationship between the work, the environment, and the spectator, resulting in a dynamic and interactive experience. The introduction of digital culture has allowed artists to explore new possibilities for creative expression, challenging traditional boundaries and creating new forms of art that redefine our understanding of the world around us.
An holographic installation offers a unique experience because the reactive image is not simply a digital product, but a physical object integrated into the installation. The hologram and its appearance are influenced by the scenography and its design. This impacts the final result, including the choice of background and its integration into a coordinated context where the audience's position, movements, and interaction with the elements are programmed and choreographed. Therefore, the creation of holographic installations requires a holistic approach that considers the integration of technology, art, and design to create a unique and immersive experience for the spectator.
In a contextualized performance of an Advertainment event, the observer is actively engaged with the brand and is transformed into a consumer. Similarly, in social marketing, the observer understands the cause being promoted and becomes a supporter of that cause. This shift from observer to participant is a key aspect of the new ways in which technology is changing the arts and how they are experienced. The interactive and immersive nature of these new artistic forms allows for a deeper connection between the artwork and the audience, blurring the lines between art and life, and creating new opportunities for engagement and participation. As technology continues to evolve and new forms of digital media emerge, we can expect to see even more exciting and innovative ways in which artists will use technology to create immersive, interactive, and engaging works of art that redefine the relationship between artist, artwork, and audience.
