“Interactive art is a form of installation-based art that involves the spectator in a way that allows the art to achieve its purpose. Some installations achieve this by letting the observer or visitor "walk" in, on, and around them; Some others ask the artist to become part of the artwork.
Works of this kind of art frequently feature computers and sensors to respond to motion, heat, meteorological changes or other types of input their makers programmed them to respond to. Most examples of virtual Internet art and electronic art are highly interactive. Sometimes, visitors are able to navigate through a hypertext environment; some works accept textual or visual input from outside; sometimes an audience can influence the course of a performance or can even participate in it.
Though some of the earliest examples of interactive art have been dated back to the 1920s, most digital art didn’t make its official entry into the world of art until the late 1990s. Since this debut, countless museums and venues have been increasingly accommodating digital and interactive art into their productions. This budding genre of art is continuing to grow and evolve in a somewhat rapid manner through Internet social sub-culture in one hand, and large scale urban installations in the other hand.”
You can read Graham and Elizabeth Coulter-Smith’s article, “Art games: Interactivity and the embodied gaze” for more information on this subject.
“One of the most salient differences between fine art and new media art lies in the possibility for interactivity. Interactivity is not simply an inherent quality of new media, it also relates to a crucial ethico-aesthetic premise informing deconstructive art from Dada and Surrealism through radical art of the 1960s and 1970s and into the present. The ethico-aesthetic premise in question concerns breaking down the barrier between the viewer and the work of art and bringing art into life. More specifically the goal is to bring creativity into everyday life as an antidote to alienation and reification. Whereas new media art finds it relatively easy to devise art games that encourage creative involvement on the part of the viewer, fine art is severely hindered in its attempts in this direction by the traditional focus on the artist-genius and the transformation of the artistic product (whatever its material) into a precious object. It will be shown that creative games exist in fine art but they are for the most part designed by the artist for the artist. This is even the case with the most radical fine artists celebrated at the turn of the millennium such as Rirkrit Tiravanija who Nicolas Bourriaud put forward as a prime instance of so-called relational aesthetics.”
Abstract from “Art games: Interactivity and the embodied gaze”
Coulter-Smith, G. and Coulter-Smith, E. (2006), ‘Art games: Interactivity and the embodied gaze’, Technoetic Arts 4: 3, pp. 169–182, doi: 10.1386/tear.4.3.169/1
“…Embodied or performative interaction provides the viewer with a more creative mode of involvement and that this can have an emancipatory effect in the sense that it disrupts if only for a moment the hegemony of instrumental rationalism.”
Coulter-Smith, G. and Coulter-Smith, E. (2006), ‘Art games: Interactivity and the embodied gaze’, Technoetic Arts 4: 3, pp. 169, doi: 10.1386/tear.4.3.169/1
“Since the 1990s installation art has risen into prominence as a major movement in fine art and in her authoritative analysis Claire Bishop suggests that our experience of installation art goes beyond looking and reading towards what she refers to as ‘activated spectatorship’ (2005: 11). Sheeven suggests that such activated readership might inspire the viewer to ‘active engagement in the social-political arena’ (Bishop 2005: 11)…Most particularly it concerns the perception that since the industrial revolution fine art has become separated from society.”
Coulter-Smith, G. and Coulter-Smith, E. (2006), ‘Art games: Interactivity and the embodied gaze’, Technoetic Arts 4: 3, pp. 170, doi: 10.1386/tear.4.3.169/1
The idea of viewers being interactive with my work is an important aspect of my installation. This will be my first installation, and it is necessary for viewers to walk on my fabricated floor in order for the work to be succesful. Since this is the case, I feel as if I definitely need something on the wall to draw the viewer's eye over to the image, then realizing that they are stepping on part of the project. I don't necessarily have a plethora of money to go digital in any way, but I feel as if walking on is interactive enough for me right now.
installation by Dutch artist Daan Roosegaarde
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