scholarly journals The Aesthetic of Reception in Interactive Installation Art, Read based on Wolfgang Iser’s Theory

2021 ◽  
Vol 10 (39) ◽  
pp. 23-35
Author(s):  
Farimah Fatemi ◽  
Ashraf sadat Mousavilar ◽  
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2021 ◽  
Vol 11 (1) ◽  
pp. 91-109
Author(s):  
Andrew Burrell

This article explores a way of thinking about virtual environments and how they might be used to create new spaces, not as an alternate reality, but as an integrated part of reality – regardless of this reality being physical and/or digital. Virtual environments can be seen as an extension of reality – the physical and the virtual sitting side by side with one, more often than not, bleeding into the other. The virtual is not separable from the physical and vice versa. This position will be formed by directly referring to traditions that stem from processes and ideas around materiality, poetics and philosophy rather than centring on technical or hardware specifics. At the centre of this exploration is an ongoing investigation into the role of memory and imagination in narrative spaces in immersive virtual environments, stemming from the author’s background in interactive Installation art and designing for virtual environments. The article’s subtitle refers to Robert Morris’s 1978 article, ‘The present tense of space’, which informs the article’s overall position.


2021 ◽  
Vol 2021 ◽  
pp. 1-12
Author(s):  
Ze Gao ◽  
Lin Lin

With the development of technology and the times, the development of new media technology and interactive installation art has slowly entered the vision of our audience. It is simply “silent art.” The public no longer “retires” like the traditional one, but participates in it and swims with the artists in the world of art. This article is aimed at studying the application of artificial intelligence and wireless network communication to the application of interactive installation art. Through the optimization of various communication equipment and the continuous advancement of various algorithms, we can strengthen the communication and connection between our interactive installation art. This article proposes that with the addition of artificial intelligence and wireless network communication, the interaction between artists and audiences may be more fun, so that we can be more colorful in our lives. The experimental results in this article show that when performing wireless network communication, the communication delay rate of the intelligent algorithm with artificial intelligence is much lower than that of the one without it, which shows that they can better transmit information to the control end. When affected by the outside world, the bit error rate of wireless network communication will increase, however, the artificial intelligence algorithm is added to his impact range, and his bit error rate increase is obviously not so high. In the process of wireless network communication, the improved algorithm is definitely better than the nonimproved algorithm in terms of energy consumption, communication delay, and bit error rate. Through the enhancement of signals and the selection of materials for communication equipment, these are all in continuous progress, and in this respect, are in continuous exploration. Compared with other algorithms, the ml algorithm has improved positioning accuracy by about 70%, 65%, and 30%. Increasing the number of nodes in the transmission signal can greatly reduce the number of hops between nodes, correspondingly reducing the hop distance error, correspondingly reducing the distance estimation error, and improving the positioning accuracy. It can solve the technical barriers of interactive installation art faster.


2021 ◽  
Vol 2021 ◽  
pp. 1-11
Author(s):  
Yuan Cao ◽  
Zhi Han ◽  
Rui Kong ◽  
Canlin Zhang ◽  
Qiu Xie

Interactive installation art is a kind of art that uses specific software and computer hardware as a platform, a platform for interaction between humans and machines or different people through computer hardware. It is an interactive art that uses material installations in nature as a medium. Traditional interactive installation art is not safe and convenient, in order to solve the shortcomings of traditional interactive installation art. This article introduces artificial intelligence technology by studying the overview, development, and application of artificial intelligence. The encryption algorithm for artificial intelligence data protection and the BP neural network prediction model under artificial intelligence are also introduced to ensure the safety of interactive installation art works. The part also introduces the creation tools and creation process of interactive installation art works. Finally, in the analysis part, a questionnaire analysis of the World Expo is carried out. The results of this article show that the art of connecting inserts is the most complete and open design era. Advances in science and technology, the development of digital art, and the needs of human life have led to the development of interconnected input technologies. In addition, in the survey of people’s satisfaction with artificial intelligence, we can conclude that 89% of people think that the security of artificial intelligence technology is very high. Yes, 92% of people think that artificial intelligence technology has a fast computing speed, 86% of people think that artificial intelligence technology is low in cost.


Leonardo ◽  
2019 ◽  
Vol 52 (2) ◽  
pp. 181-181
Author(s):  
Shan Tu ◽  
Haipeng Mi ◽  
Feng Xian

66m Under is an interactive installation art exhibited in a public space of Beijing 751 Art Zone. A floating balloon sea continues to rise, reflecting the phenomenon of global warming. Visitors can interact with this installation artwork by showing their efforts to delay the rising of the sea in order to save a bird nest 66 meters high above the balloon sea. We created this artwork to encourage people to focus on environmental crisis and arouse public awareness of environmental protection.


Leonardo ◽  
2014 ◽  
Vol 47 (5) ◽  
pp. 451-456 ◽  
Author(s):  
Caitilin de Bérigny ◽  
Phillip Gough ◽  
Majdi Faleh ◽  
Erika Woolsey

The authors discuss how tangible user interface objects can be important educational and entertainment tools in environmental education. The authors describe their interactive installation artwork Reefs on the Edge, which incorporates tangible user interface objects and combines environmental science and multiple art forms to explore coral reef ecosystems that are threatened by the effects of climate change. The authors/artists argue that the use of tangible user interface in an installation-art setting can help engage and inform the public about crucial environmental issues.


2013 ◽  
Vol 23 (3) ◽  
pp. 13-30
Author(s):  
Lauren S. Weingarden

This article explores the participatory turn in installation art as part of a trajectory from Baudelairean modernity to twentyfirst-century postmodernity, as represented at Inhotim, the outdoor contemporary art museum and botanical gardens in Brumadinho, MG. In his 1862 essay “The Painter of Modern Life,” Charles Baudelaire defined modernity as fleeting, transitory and fragmentary. Baudelairean modernity initiated a breakdown of boundaries between art and life and between high art aesthetics and popular culture, which continues in the work of installation artists. In the sites of installation art, the spectator is compelled to extend – rather than complete – the work of art in his/her own time, prior experiential encounters and transformative afterthoughts. The shift from the isolated work of art to the experiential one not only complicates how and where works of art are viewed, but also radicalizes the materials that constitute the work of art – whether those materials are extracted from the quotidian sphere or complex technologies, each undergoes a process of defamiliarization and reactivation to produce the transformative aesthetic experience. The individual installations in Inhotim’s “outdoor museum” engage the spectator in a dynamic/participatory experience with spatial, temporal and material relationships that define the very essence of art’s reciprocity, or contrast with the natural and man-made worlds. It is the rarefied setting of Inhotim’s botanical gardens that makes the participatory and transformative experience central to the aesthetic encounter with installation art.


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