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Artigos de revistas sobre o tema "Installations (Art)"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 5 de outubro de 2024

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1

Rios, Patricia, and Aquiles Negrete. "The object of art in science: science communication via art installation." Journal of Science Communication 12, no. 03 (December 11, 2013): A04. http://dx.doi.org/10.22323/2.12030204.

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Science is part of our everyday live; so is art. Some art installations that link the two require the active presence of the spectator. Thereby they help to raise the awareness, promote understanding, and generate an emotional response from the public. This project rests on the public participation model that seeks to explore the connection between art installations and science communication through experiential learning. In order to test the effectiveness of an art installation communicating science two groups were contrasted. The first was exposed to a list of scientific facts; the second pa

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Zečević, Marija. "Installation: Between the Artistic and Architectural Project." AM Journal of Art and Media Studies, no. 12 (April 15, 2017): 55. http://dx.doi.org/10.25038/am.v0i12.167.

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The subject of this research is the art installation, a spatial creativity that arises in relation between art and architecture. In a more narrow definition, the subject of the research is installations created in the formative period of the 60s and 70s up to the present. As a ‘critical spatial practice’ art installations are conceived in the form of alternative proposals for settlements which enter the field of architectural design. Ideas concerning new sets of relations between the subject and a spatial order indicate the potential of the use of the concept of art installations in architectu

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3

Cuan, Catie, Erin Berl, and Amy LaViers. "Time to compile: A performance installation as human-robot interaction study examining self-evaluation and perceived control." Paladyn, Journal of Behavioral Robotics 10, no. 1 (August 28, 2019): 267–85. http://dx.doi.org/10.1515/pjbr-2019-0024.

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AbstractEmbodied art installations embed interactive elements within theatrical contexts and allow participating audience members to experience art in an active, kinesthetic manner. These experiences can exemplify, probe, or question how humans think about objects, each other, and themselves. This paper presents work using installations to explore human perceptions of robot and human capabilities. The paper documents an installation, developed over several months and activated at distinct venues, where user studies were conducted in parallel to a robotic art installation. A set of best practic

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4

Ehninger, Eva. "Die Land Art als Film." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 55, no. 1 (2010): 109–27. http://dx.doi.org/10.28937/1000106160.

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"Parallel zu ihren monumentalen Außenrauminstallationen, die während der späten 1960er und frühen 1970er Jahre im Westen und Südwesten der USA realisiert wurden, haben einige Vertreter der amerikanischen Land Art auch Arbeiten im filmischen Medium produziert. Die Frage nach dem Stellenwert dieser Filmbeiträge für das jeweilige Œuvre ist in der Forschung ein Streitpunkt. Dieser Artikel bewertet weniger ihren Status als eigenständige Werke oder Dokumentationen, sondern widmet sich einem Thema, das Installationen und filmische Arbeiten gemein haben: die Kritik am klassischen Raumverständnis. Anha

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Lilin, You. "The Feminist Installation Art in Modern China." Vestnik of Saint Petersburg State University of Culture, no. 1 (58) (2024): 129–35. http://dx.doi.org/10.30725/2619-0303-2024-1-129-135.

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Feminist installation art in contemporary China is one of the most dynamic and controversial trends in Chinese contemporary art. It reflects the complex processes of social, political and cultural transformation that have been taking place in China in recent decades. Feminist installations express critical attitudes towards traditional gender roles, national identity, environmental issues and globalization. However, feminist installation art in contemporary China has not received sufficient scholarly coverage and analysis in domestic and foreign literature. Existing studies are often limited t

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Erel, Yael, Foteini Kyriakidou, and Rodrigo Eduardo Muro Avendano. "Urban Illuminations – Light Art Activating The Public Realm." IOP Conference Series: Earth and Environmental Science 1320, no. 1 (March 1, 2024): 012012. http://dx.doi.org/10.1088/1755-1315/1320/1/012012.

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Abstract How can contemporary light art installations impact the sensorial perception of the urban context to modify and reinterpret urban space? In Robert Irwin’s words, how can they provide “…an extended way of looking at the world”? In this paper, we examine how temporary light installations may impact the public realm by modifying citizens’ perceptions of moments in the city: a habitual urban passage is interrupted with a temporal experience, changing the way the urban space is experienced. We explore how site-specific light installations create unique intersections of audience and spatial

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Prisco, Brianna. "Living Art: An Exploration of Interactive Art Installations." Art Education 69, no. 5 (August 15, 2016): 49–57. http://dx.doi.org/10.1080/00043125.2016.1202078.

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Paul, Christiane. "Renderings of Digital Art." Leonardo 35, no. 5 (October 2002): 471–84. http://dx.doi.org/10.1162/002409402320774303.

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This essay identifies the current qualifier of choice, “new media,” by explaining how this term is used to describe digital art in various forms. Establishing a historical context, the author highlights the pioneer exhibitions and artists who began working with new technology and digital art as early as the late 1960s and early 1970s. The article proceeds to articulate the shapes and forms of digital art, recognizing its broad range of artistic practice: music, interactive installation, installation with network components, software art, and purely Internet-based art. The author examines the t

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Bouzguenda, Ghada. "Eco-Public Installation Through Landscape Architecture for Sustainability in the Urban Space." International Journal of Architecture, Arts and Applications 10, no. 2 (June 29, 2024): 60–68. http://dx.doi.org/10.11648/j.ijaaa.20241002.14.

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Sustainable art in landscape architecture encompasses activities like installing works of art that are durable, functional, decorative, iconographic, interpretative, integrated, ephemeral, or temporary. Projects of sustainable installation in landscape architecture have highlighted the contributions of public arts in social, cultural, and economic aspects. Studying the environmental impacts of public art in cities is still lacking. The purpose of this article is to highlight the contribution of eco-art in urban space to the development of sustainable cities, through the exam of a selection of

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10

Chemberzhi, Daria. "The importance of installation art for the development of contemporary art in the world and Ukraine." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 278–87. http://dx.doi.org/10.37131/2524-0943-2019-39-19.

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Article is devoted to a research of a role and the place of art installation in the modern world. At the same time the retrospective analysis of a role of art installation in the past and comparative characteristic with the present is carried out. The Ukrainian context of development of art installation is also revealed. At the same time it is found out that installation is not only an important component of modern art, but also an integral part of historical discourse. Due to its visual functions, the installation actively influences the viewer. For the most part, installations are not just a

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Smart, Jennifer. "Object-Oriented Sociality: Marina Rosenfeld’s Sound Installation Art." AMP: American Music Perspectives 2, no. 2 (December 2021): 171–83. http://dx.doi.org/10.5325/ampamermusipers.2.2.0171.

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ABSTRACT Marina Rosenfeld’s artistic practice is guided by the questions of what (and where) music can or should be. Over the last three decades, the artist and composer has explored these questions through both large-scale performances and intimate multimedia gallery installations, which, as she describes it, are invested in “acoustic architectures and experimental forms of sociality.” This article focuses on Rosenfeld’s gallery installations to consider the ways in which her multimedia work transforms the art gallery into a performative space. By closely attending to the materiality of Rosen

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Basanta, Adam. "Extending Musical Form Outwards in Space and Time: Compositional strategies in sound art and audiovisual installations." Organised Sound 20, no. 2 (July 7, 2015): 171–81. http://dx.doi.org/10.1017/s1355771815000059.

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Sound and media installations are rarely considered from a time-based, formal perspective. In order to enable a greater understanding of temporal form in sound installations, I suggest a cross-disciplinary adaptation of musical form to the installation context. Due to the differences between concert and installation presentation practices – including, but not limited to, the increased agency of the mobile visitor – I re-examine form in installation contexts as the particular temporal experience co-produced by the first-person subject as they navigate in, through and out of the work’s frame. By

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Godley, L., R. Frasso, T. Igoe, Y. Erel, and J. LeNoir. "The Use of Immersive Light-Based Art for Well-Being." IOP Conference Series: Earth and Environmental Science 1320, no. 1 (March 1, 2024): 012008. http://dx.doi.org/10.1088/1755-1315/1320/1/012008.

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Abstract This paper presents the findings of ‘Waiting Room - Immersive Art for Well-being,’ an exhibition of various dynamic light art installations that investigated the potential impact of this work on viewers’ sense of well-being in a mock healthcare setting. Research shows that exposure to art impacts human health, improving overall healthcare experiences, resulting in shortened hospital stays, improved recovery time, and reduced need for pain management. The purpose of this study was to determine if exposure to dynamic light art has an impact on overall well-being. Qualitative data were c

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Dupree, Catherine. "Sonja Alhääuser's Sweet Installations." Gastronomica 3, no. 1 (2003): 10–13. http://dx.doi.org/10.1525/gfc.2003.3.1.10.

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Don't we visit museums to look at art, not 'heaven forbid' to smell it, salivate at it, and eat it? Don't we arrange our sculptures on pedestals, and contemplate aesthetic at arm's length? German artist Sonja Alhuser thumbs her nose at such convention. She makes sculptures from sweets, and gleefully invites us to devour them. Soon, chocolate crumbs litter the gallery floor and her sculptures are reduced to rubble. There's an alluring naughtiness to this endorsed destruction-by-consumption of art in such an elegant setting. But as we nibble, aren't we contradicting the museum's mission to prese

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15

Tillett, Aubree. "Military Families and the Arts: An ArcGIS StoryMaps Collection to Discover Art Institutions Near Active-Duty Military Installations." portal: Libraries and the Academy 24, no. 2 (April 2024): 217–33. http://dx.doi.org/10.1353/pla.2024.a923704.

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abstract: Military Families and the Arts is an ArcGIS StoryMaps collection that serves military families by mapping art museums and arts centers located near active-duty military installations. The interactive maps are organized by military branch and browsable by an alphabetical list of active-duty military installations. The ArcGIS StoryMaps collection serves three primary functions: to assist military spouses pursuing a career in the arts with finding a comprehensive list of potential employers, to assist military dependents with finding arts-related opportunities to network into their curr

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Konečni. "Emotion in Painting and Art Installations." American Journal of Psychology 128, no. 3 (2015): 305. http://dx.doi.org/10.5406/amerjpsyc.128.3.0305.

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Krstich, Vesna. "Videotaping Art Installations: A Research Tool." Curator: The Museum Journal 48, no. 4 (October 2005): 467–73. http://dx.doi.org/10.1111/j.2151-6952.2005.tb00188.x.

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Kontogeorgakopoulos, Alexandros. "Music, Art Installations and Haptic Technology." Arts 12, no. 4 (July 7, 2023): 142. http://dx.doi.org/10.3390/arts12040142.

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This paper presents some directions on the design, development and creative use of haptic systems for musical composition, performance and digital art creation. This research has been conducted both from an artistic and a technical point of view and its ambition, over the last decade, apart from the artistic outcome, was to introduce the field of haptics to artistic communities based on an open, do it yourself—DIY ethos. The five directions presented here are not in any sense exhaustive and are based principally on a series of collaborative works and more personal open-ended explorations with

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19

Goldstein, Jennie. "Dance History in Contemporary Visual Art Practice: Kelly Nipper’s Weather Center." TDR/The Drama Review 60, no. 2 (June 2016): 103–21. http://dx.doi.org/10.1162/dram_a_00550.

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Kelly Nipper’s video installation Weather Center (2009) is emblematic of the presence of dance in recent visual art. Nipper’s persistent fascinations with Mary Wigman, Laban Movement Analysis, and expansive notation practices result in live performances, moving-image installations, and photographs, creating visual art that reveals how dance and its particular histories can function as malleable material within the museum.

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Hottman, Tara. "Alexander Kluge’s Installations." New German Critique 47, no. 1 (February 1, 2020): 57–80. http://dx.doi.org/10.1215/0094033x-7908378.

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Abstract Analysis of recent exhibitions featuring Alexander Kluge’s earlier films and televisual work in dialogue with work by other artists demonstrates how the aesthetics of installation art and modes of exhibiting moving images in art museums and galleries have allowed Kluge to continue developing but also revise practices he first engaged in other media. The so-called white-cube exhibition space presents Kluge’s earlier works in terms of remediation and provides him with an opportunity to employ and reconceptualize his approach to montage techniques and reception aesthetics. With their dep

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21

Steinkamp, Jennifer. "My Only Sunshine: Installation Art Experiments with Light, Space, Sound and Motion." Leonardo 34, no. 2 (April 2001): 109–12. http://dx.doi.org/10.1162/002409401750184645.

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The author discusses her interactive architectural installation art. As an artist who works with new media, she finds herself refitting existing genres and creating new languages for her particular art form. Her artwork consists of projected interactive computer animation installations. She investigates illusions that transform the viewer's perception of actual space in a synthesis of the real and the virtual.

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22

Agac, Saliha. "Installation Artist in the Fashion Industry: Yayoi Kusama." New Trends and Issues Proceedings on Humanities and Social Sciences 4, no. 11 (December 27, 2017): 35–41. http://dx.doi.org/10.18844/prosoc.v4i11.2847.

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The history of fashion has shown that art and fashion are influenced by each other. Cooperation between the two disciplines is quite extensive. In this work, first, the installation artist Yayoi Kusama’s installations and the clothes that she prepared for these installations are examined. Then, the 2012 collection prepared with the cooperation of Yayoi Kusama-Louis Vuitton was examined and visual content analysis forms were created. As a result of the findings, a capsule collection was prepared in honour of Yayoi Kusama and photographed by establishing the figure–ground relationship as in the

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23

Abdullah, Sarena, and Carmen Nge Siew Mun. "Spaces of Experimentation and Collaboration in Early 1990s Malaysian Art." Southeast of Now: Directions in Contemporary and Modern Art in Asia 6, no. 2 (October 2022): 47–75. http://dx.doi.org/10.56159/sen.2022.a871491.

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Abstract: At the zenith of the Mahathir era, amidst the economic boom and rapid development of the early 1990s, Malaysian art exhibitions were charting a novel path in the arena of installation and performance art. This paper will closely examine three seminal installation art exhibitions, namely Sook Ching (1990), 2 Installations (1991), and Warbox Lalang Killing Tools (1994), where some of the artists involved chose to perform and/or collaborate with dancers and theatre makers, culminating in some of the earliest experiments with performance art in Malaysia. What sets them apart from other i

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Sommerer, Christa, and Laurent Mignonneau. "Art as a Living System: Interactive Computer Artworks." Leonardo 32, no. 3 (June 1999): 165–73. http://dx.doi.org/10.1162/002409499553190.

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The authors design computer installations that integrate artificial life and real life by means of human-computer interaction. While exploring real-time interaction and evolutionary image processes, visitors to their interactive installations become essential parts of the systems by transferring the individual behaviors, emotions and personalities to the works' image processing. Images in these installations are not static, pre-fixed or predictable, but “living systems” themselves, representing minute changes in the viewers' interactions with the installations' evolutionary image processes.

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Petrenko, Dmitry. "INSTALLATION ART IN THEUKRAINIAN VISUAL CULTUREOF THE BEGINNING OF THE ХХІ CENTURY". Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", № 66 (28 грудня 2022): 16–22. http://dx.doi.org/10.26565/2306-6687-2022-66-02.

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The article considers Ukrainian installation art. Artistic practices of installation represent one of the most interesting trends in world visual culture, which actively developed during the second half of the ХХ century and at the beginning of the ХХІ century. Installation is a relevant form of modern art, as it is focused on space and thus corresponds to an important guideline of modern culture — the spatial turn. It is proposed to consider the theory of installation by C. Bishop, according to which four types of installation can be distinguished: a phenomenological installation, de-subjecti

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Galchynska, Olga, Liudomyr Filonenko, Rosslan Lozev, Mykhailo Sydor, and Valentyna Drotenko. "Public art as a driver of change: exploring its socio-political impact in the modern era." Revista Amazonia Investiga 13, no. 79 (July 30, 2024): 217–31. http://dx.doi.org/10.34069/ai/2024.79.07.17.

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This article explores the socio-political impact of public art installations. It interprets impact indicators, describes public art as a result of socio-political transformations, reveals the characteristics of national identity through public art, studies public art during war, and compares the symbolism of public art installations across different countries. The research employed a descriptive methodology, including literature analysis, visual and document analysis, theoretical assessment of impact indicators, historical and comparative analysis, and content analysis. The findings demonstrat

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Chibalashvili, Asmati, Polina Kharchenko, Ruslana Bezuhla, Igor Savchuk, and Victor Sydorenko. "Interactive Sound Installation as an Implementation of Contemporary Communication Models." Postmodern Openings 13, no. 2 (June 24, 2022): 239–53. http://dx.doi.org/10.18662/po/13.2/451.

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Digitalization, virtualization, commercialization, loss of integrity, polystylistics, liberation from any norms are the latest trends that determine the development of contemporary art. They influence the functioning of modern communication models that evolve in accordance with the achievements of technology and acquire mobility, variability and interactivity. Interaction between social processes and scientific and technological achievements is increasing, the essence of communication in the space of modern culture is being rethought, particularly, the boundary between the types of art is bein

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Telesetsky, Anastasia. "Massachusetts Museum of Contemporary Art Foundation v. Christoph Büchel: An Appellate Perspective on the Visual Artists Rights Act." International Journal of Cultural Property 18, no. 2 (May 2011): 255–58. http://dx.doi.org/10.1017/s0940739111000105.

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When the U.S. Congress passed the Visual Artists Rights Act (VARA) in 1990, no legislator really anticipated that courts would be applying the act to art installations that were only half-finished. But this was the very challenge that the U.S. Appellate Court for the First Circuit faced in Massachusetts Museum of Contemporary Art Foundation, Inc. v. Christoph Büchel. Deliberating over a failed football-field-sized art installation wryly entitled “Training Ground for Democracy,” the appellate court was asked to determine whether VARA protected Swiss artist Büchel's moral rights in his half-fini

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Thompson, Nathan. "Black Field Plates: Emergent Ecologies in Sonic Art." Leonardo Music Journal 25 (December 2015): 96–98. http://dx.doi.org/10.1162/lmj_a_00946.

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Black Field Plates (2014) is a series of sound installations. The series is an investigation into the politics of emergent sound composition. By imitating the ways in which natural systems organize matter, these sound installations self-organize sound and compose music.

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Nyaiyonga, Blessings. "The Impact of Public Art Installations on Urban Recreation Spaces." International Journal of Arts, Recreation and Sports 3, no. 2 (June 3, 2024): 13–24. http://dx.doi.org/10.47941/ijars.1936.

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Purpose: This study sought to examine the impact of public art installations on urban recreation sports. Methodology: The study adopted a desktop research methodology. Desk research refers to secondary data or that which can be collected without fieldwork. Desk research is basically involved in collecting data from existing resources hence it is often considered a low cost technique as compared to field research, as the main cost is involved in executive’s time, telephone charges and directories. Thus, the study relied on already published studies, reports and statistics. This secondary data w

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Sui, Guanglong, and Boonsom Yodmalee. "Exploring the Educational Potential of Immersive New Media Art in Urban Commercial Spaces in Dalian City, Liaoning Province, China." Journal of Education and Learning 13, no. 1 (January 20, 2024): 189. http://dx.doi.org/10.5539/jel.v13n1p189.

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Contemporary Chinese art has witnessed a transformative evolution in the realm of installation art, particularly in the context of immersive new media installations within urban commercial spaces. This study explores the educational potential of immersive new media art in urban commercial spaces in Dalian City, Liaoning Province, China. The research journey spans various stages of Dalian&rsquo;s installation art development, from its early emergence in the 1980s to the prosperous period in the 1990s and its diversification in the 21st century. Key themes explored include the evolution of a

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Ekinci, Berivan. "Gender, action and expression in Pipilotti rist’s ever is over all video art." Global Journal of Arts Education 11, no. 2 (August 31, 2021): 131–40. http://dx.doi.org/10.18844/gjae.v11i2.6123.

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In this study, two channelled and coloured video installation called Ever is Over All dated 1997 by Pipilotti Rist’s being one of the artists who shaped video installations is analysed. In this installation produced by Pipilotti Rist as a woman artist, a woman in an entranced mood is shown smashing the glasses of some of the cars parked on the roadside. There is the vast space of the flower field on the one side and then there is a cheerful woman as the main character crashing the glasses of the parked cars on the roadside with a long stemmed flower just like from the field. The female body is

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Cao, Yuan, Zhi Han, Rui Kong, Canlin Zhang, and Qiu Xie. "Technical Composition and Creation of Interactive Installation Art Works under the Background of Artificial Intelligence." Mathematical Problems in Engineering 2021 (September 25, 2021): 1–11. http://dx.doi.org/10.1155/2021/7227416.

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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

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Taviano, Stefania. "Translating Migration: Art Installations against Dehumanizing Labelling Practices." Languages 8, no. 3 (September 20, 2023): 221. http://dx.doi.org/10.3390/languages8030221.

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Migration is commonly described as a threat through images of invasion and flood in Western media. Migrants and asylum seekers tend to be the target of hate speech together with other vulnerable groups and minorities, such as disabled people, and definitions and labels have precise implications in terms of social justice and human rights. Migrant is an umbrella term used to refer to a variety of people who leave their countries of origin. Out-of-quota and dubliner are further labels, together with asylum seekers. Through an interdisciplinary approach, adopting a translation perspective on soci

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Weingarden, Lauren S. "The performative turn at Inhotim: installation art and Baudelairean modernity." Aletria: Revista de Estudos de Literatura 23, no. 3 (December 31, 2013): 13–30. http://dx.doi.org/10.17851/2317-2096.23.3.13-30.

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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

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Bahtsetzis, Sotirios. "Deleuze’s meta-cinematic framing: Multimodal meaning-making in Installation Art." Punctum. International Journal of Semiotics 08, no. 02 (2022): 11–31. http://dx.doi.org/10.18680/hss.2022.0014.

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The article discusses multimodal meaning-making in the context of video and multi-media installation art and related curatorial practices. It draws on the Deleuzian concept of pure duration or ‘time-image,’ understood as a Foucauldian dispositive (Panagia) and, thus, as a broader heuristic device in discussing the viewer’s experience engulfed in installations. It discusses non-discursive aspects of meaning-making while focusing on the viewer/ participant’s subjectifying, multi-sensorial, kinaesthetic, performative, and time-based experience of an exhibition. We discuss installation art as a te

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Chekh, Natalia. "‘NON-PHOTOGRAPHIC’: SERGIY BRATKOV AND BORIS MIKHAILOV." Doxa, no. 1(37) (July 5, 2023): 118–37. http://dx.doi.org/10.18524/2410-2601.2022.1(37).281827.

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The article analyzes the play prerequisites for the creation, methods of implementation and conditions of perception of B. Mіkhaіlov’s and S. Bratkov’s works — multimedia installations ‘Sacrifice to the God of War’ and ‘Box for Three Letters’, presented in the exhibition project ‘Alchemical Surrender’ of the Soros Center for Contemporary Art in Sevastopol in 1994. As a result of the research, it was found that S. Bratkov and B. Mikhaіlov had chosen ‘non-photographic’ as an artistic language for the project ‘Alchemical surrender’ — the language of carnival forms and carnival symbols. The multim

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Fomenko, Andrey N. "ROAD ART: THE VIDEO INSTALLATIONS OF GULNARA KASMALIEVA AND MURATBEK DZHUMALIYEV." Articult, no. 3 (2022): 51–55. http://dx.doi.org/10.28995/2227-6165-2022-3-51-55.

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The works of Gulnara Kasmalieva and Muratbek Dzhumaliyev, contemporary artists from Kyrgyzstan, are considered by Andrey Fomenko in the context of current processes in post-Soviet art, including the request for factography, as well as “orientalist” aestheticization of national and cultural identity of an artist. The video installations of Kasmaliyeva and Dzhumaliyev, outwardly strictly documentary and “anti-romantic”, are in fact far from being so unambiguous in their implications and can be interpreted as a resuscitation of romantic values at a new level of reflection.

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Urbanowicz, Katarzyna, and Lucyna Nyka. "MEDIA ARCHITECTURE AND INTERACTIVE ART INSTALLATIONS STIMULATING HUMAN INVOLVEMENT AND ACTIVITIES IN PUBLIC SPACES." CBU International Conference Proceedings 4 (September 19, 2016): 591–96. http://dx.doi.org/10.12955/cbup.v4.819.

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This paper examines the potential for media architecture and interactive art installations to stimulate human involvement and activities in public spaces. On the basis of theoretical approaches, case studies and interdisciplinary surveys, the paper provides insight into how screens projecting media and interactive installations in city spaces can inspire people to become active on many levels. The research is focused, both on temporary and permanent art installations, that support new technologies to encourage people to interact with art objects and become actors in an urban performance. Media

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Grillotti, Richard, Andy DiLallo, and Angus G. Forbes. "Resonant Waves: Immersed in Geometry." Leonardo 53, no. 4 (July 2020): 401–7. http://dx.doi.org/10.1162/leon_a_01926.

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This article introduces Resonant Waves, a work of interactive new media art that incorporates cymatic patterns into an immersive installation. The authors describe their research and design process in creating Resonant Waves, and they discuss technical details about the installation, highlighting innovative aspects of the project and contextualizing the project in terms of previous cymatics research and related artistic explorations of complex phenomena. Finally, the authors discuss audience reaction to different installations of the project and identify directions for future research in immer

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Maithani, Charu. "Screens as Gestures in Interactive Art Assemblage." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 147. http://dx.doi.org/10.25038/am.v0i17.278.

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The interaction in the contemporary media art installations can be viewed as a process of transformation as the parts of the installation engage and respond to each other. This paper considers interactive media art as assemblages and argues screens to be gestures of this assemblage. The screens activate and rearrange the relations between the elements of the assemblage by providing multiple connections between them. By examining two artworks, Breath (1991/92) by Ulrike Gabriel and Shadow 3 (2007) by Shilpa Gupta, the paper extrapolates the aesthetic experiences gestured by the screens. Article

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Rose, Ethan. "Translating Transformations: Object-Based Sound Installations." Leonardo Music Journal 23 (December 2013): 65–69. http://dx.doi.org/10.1162/lmj_a_00157.

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This paper defines the object-based sound installation as a distinct category of sound art that emerges from the intersection of live musical performance and the sonic possibilities of the recording studio. In order to contextualize this emergent category, connections are drawn among the rationalization of the senses, automated musical instruments, the lineage of recorded sound and the notion of absolute music. This interwoven history provides the necessary backdrop for the interpretation of three major works by Steven Reich, Alvin Lucier and Zimoun. These respective pieces are described in or

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Moura, Lazaro Elizeu, and Cláudio Lima Ferreira. "Artistic installations in cities: the contemporary art by Henrique Oliveira, Regina Silveira and Ernesto Neto, raising sensitive awareness in people in daily urban lives." CONTRIBUCIONES A LAS CIENCIAS SOCIALES 17, no. 2 (February 16, 2024): e5169. http://dx.doi.org/10.55905/revconv.17n.2-126.

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This article analyzes some artistic installations, designed for spaces within cities, expanding their field of exhibition, awakening the sensitive nature of people who live or walk in urban centers. The study highlights the frequent problems that affect cities, causing discomfort to the population, therefore, it observes the importance of contemporary art, which is installed in spaces and environments, as an efficient element to interpret aspects of daily life, through awareness and visual poetry. Therefore, three art installations were selected, produced by three Brazilian visual artists, suc

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Nae, Oana Maria. "3. Interactivity as Artistic Mediation System. Installation and Participative Projects." Review of Artistic Education 1, no. 24 (April 1, 2022): 185–93. http://dx.doi.org/10.2478/rae-2022-0023.

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Abstract The first official step toward active participation and interaction was made by John Cage, Allan Kaprow, George Brecht, and other artists connected to the happening and Fluxus movements from 1950-1960. Since than the conceptual art maximizes the importance given to the shape and interaction as an artistic product. Essentially, the installations named environmental art bring before the visitor of the exhibition, the viewer, the entire sensory experience, more than the canvas centered on a “neutral” wall or on isolated objects on a pedestal. Analyzing some of this art works we discover

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Lacey, Jordan. "Sonic Placemaking: Three approaches and ten attributes for the creation of enduring urban sound art installations." Organised Sound 21, no. 2 (June 30, 2016): 147–59. http://dx.doi.org/10.1017/s1355771816000078.

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This article investigates the approaches and attributes of publicly situated sound installations which have achieved the status of permanency, and have attracted ongoing local, and even international, visitors. The article draws on international fieldwork in 2015 that documented several enduring sound installations in the United States, UK and Europe. Through an inductive process including listening exercises, sound recordings, observations and interviews, the analysis identifies three approaches to creating sound installations and ten attributes of operative sound installations. It is argued

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Küttel, Nora Mariella. "Material agency in art installations: exploring the interplay of art, space, and materials in Detroit." Geographica Helvetica 79, no. 2 (May 13, 2024): 149–60. http://dx.doi.org/10.5194/gh-79-149-2024.

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Abstract. Decades of decline, disinvestment, and racism have left Detroit with an abundance of abandoned buildings, ruins, vacant lots, and illicit trash dumps. Though these structures and materials might have forfeited their previous purposes, they can act as catalysts, substances, and co-creators of artworks. The paper is thus interested in examining the intricate interplay between art, space, and materiality in Detroit further. Drawing from the practices of local artists Olayami Dabls and Scott Hocking, the paper adopts a new materialist framework to investigate the dynamic agency of matter

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Abdullah, Sarena. "Changing Approaches: Installations Produced in the Malaysian Art World." Wacana Seni Journal of Arts Discourse 16 (2017): 1–34. http://dx.doi.org/10.21315/ws2017.16.1.

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Mukherjee, Madhuja. "Material, history, arguments: unidentified publicity images and art-installations." Inter-Asia Cultural Studies 15, no. 1 (January 2, 2014): 113–27. http://dx.doi.org/10.1080/14649373.2014.871774.

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Anghel, Anamaria Andreea, Irina Mohora, Alma-Dia Preda (Hapenciuc), Diana Giurea, and Flaviu Mihai Frigura-Iliasa. "ENVIRONMENTAL TENDENCIES IN MODULAR GREEN INSTALLATIONS." Journal of Green Building 14, no. 4 (September 2019): 195–221. http://dx.doi.org/10.3992/1943-4618.14.4.195.

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There are two main approaches when discussing living green walls: an ecological one and an artistic one. Ecological thinking mainly considers environmental aspects, comfort enhancement and energy consumption and oversees human interaction and actual proximity to plants. In opposition, art or architecture installations that involve vegetation, lack technical and ecological aspects, aiming to raise awareness on environmental issues using human interaction either physically (direct) or emotionally (indirect). The present paper aims to analyze methods of combining the two directions, in a function

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Di Maro, Daniela, Andrea Bene, Diego Bernini, Simone Bonetti, Giorgio De Michelis, Francesco Tisato, and Gianluca Colombo. "Anastatica Sensibile - Grounding Interactivity on a Natural Process." Leonardo 47, no. 5 (October 2014): 502–3. http://dx.doi.org/10.1162/leon_a_00823.

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Interactive artistic installations represent avant-garde forms of Contemporary Art. They are artistic works able to change their behavior in response to the behavior of the viewers, turning them into (more or less) active participants. This paper discusses an interactive installation the authors developed during the beginning of 2012 for the St. Elmo Castle in Naples, Italy. In this installation the audience determines the evolution of the life cycle of specific plants, in terms of an opening/closing process. The paper proposes some reflections on this case study, especially about the engageme

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