The status of interactivity in computer art: formal apories
Autor(a) principal: | |
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Data de Publicação: | 2011 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.7559/citarj.v3i1.26 |
Resumo: | Contemporary art, particularly that which is produced by computer technologies capable of receiving data input via interactive devices (sensors and controllers), constitutes an emerging expressive medium of interdisciplinary nature, which implies the need for a critical look at its constitution and artistic functions. To consider interactive art as a form of artistic expression that files under the present categorization, implies the acceptance of the participation of the spectator in the production of the work of art, supposedly at the time of its origin / or during its creation. When we examine the significance of the formal status of interactivity, assuming as a theoretical starting point the referred premises and reducing it to a phenomenological point of view of artistic creation, we quickly fall into difficulties of conceptual definitions and structural apories [1]. The fundamental aim of this research is to formally define the status of interactive art, by perpetrating a phenomenological examination on the creative process of this specific art, establishing crucial distinctions in order to develop a hermeneutics in favor of creation of new perspectives and aesthetic frameworks. What is interactive creation? Is interactivity, from the computing artistic creativity point of view, the exponentiation of the concept of the open work of art (ECO 2009)? Does interactive art correspond to an a priori projective and unachievable meta-art? What is the status of the artist and of the spectator in relation to an interactive work of art? What ontic and factical conditions are postulated as necessary in order to determine an artistic product as co-created? What apories do we find along the progres- sive process of reaching to a clarifying conceptual definition?This brief investigation will seek to contribute to the study of this issue, intending ultimately, and above all, to expose pertinent lines of inquiry rather than to provide definite scientific and aesthetic answers. |
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The status of interactivity in computer art: formal aporiesContemporary art, particularly that which is produced by computer technologies capable of receiving data input via interactive devices (sensors and controllers), constitutes an emerging expressive medium of interdisciplinary nature, which implies the need for a critical look at its constitution and artistic functions. To consider interactive art as a form of artistic expression that files under the present categorization, implies the acceptance of the participation of the spectator in the production of the work of art, supposedly at the time of its origin / or during its creation. When we examine the significance of the formal status of interactivity, assuming as a theoretical starting point the referred premises and reducing it to a phenomenological point of view of artistic creation, we quickly fall into difficulties of conceptual definitions and structural apories [1]. The fundamental aim of this research is to formally define the status of interactive art, by perpetrating a phenomenological examination on the creative process of this specific art, establishing crucial distinctions in order to develop a hermeneutics in favor of creation of new perspectives and aesthetic frameworks. What is interactive creation? Is interactivity, from the computing artistic creativity point of view, the exponentiation of the concept of the open work of art (ECO 2009)? Does interactive art correspond to an a priori projective and unachievable meta-art? What is the status of the artist and of the spectator in relation to an interactive work of art? What ontic and factical conditions are postulated as necessary in order to determine an artistic product as co-created? What apories do we find along the progres- sive process of reaching to a clarifying conceptual definition?This brief investigation will seek to contribute to the study of this issue, intending ultimately, and above all, to expose pertinent lines of inquiry rather than to provide definite scientific and aesthetic answers.Universidade Católica Portuguesa2011-01-01T00:00:00Zjournal articleinfo:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://doi.org/10.7559/citarj.v3i1.26oai:ojs.revistas.ucp.pt:article/7172Journal of Science and Technology of the Arts; Vol 3 No 1 (2011); 10-19Journal of Science and Technology of the Arts; v. 3 n. 1 (2011); 10-192183-00881646-979810.34632/citarj.2011.3.1reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://revistas.ucp.pt/index.php/jsta/article/view/7172https://doi.org/10.7559/citarj.v3i1.26https://revistas.ucp.pt/index.php/jsta/article/view/7172/6947Copyright (c) 2011 João Castro Pintohttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessPinto, João Castro2022-09-22T16:19:16Zoai:ojs.revistas.ucp.pt:article/7172Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T15:58:58.400888Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
The status of interactivity in computer art: formal apories |
title |
The status of interactivity in computer art: formal apories |
spellingShingle |
The status of interactivity in computer art: formal apories Pinto, João Castro |
title_short |
The status of interactivity in computer art: formal apories |
title_full |
The status of interactivity in computer art: formal apories |
title_fullStr |
The status of interactivity in computer art: formal apories |
title_full_unstemmed |
The status of interactivity in computer art: formal apories |
title_sort |
The status of interactivity in computer art: formal apories |
author |
Pinto, João Castro |
author_facet |
Pinto, João Castro |
author_role |
author |
dc.contributor.author.fl_str_mv |
Pinto, João Castro |
description |
Contemporary art, particularly that which is produced by computer technologies capable of receiving data input via interactive devices (sensors and controllers), constitutes an emerging expressive medium of interdisciplinary nature, which implies the need for a critical look at its constitution and artistic functions. To consider interactive art as a form of artistic expression that files under the present categorization, implies the acceptance of the participation of the spectator in the production of the work of art, supposedly at the time of its origin / or during its creation. When we examine the significance of the formal status of interactivity, assuming as a theoretical starting point the referred premises and reducing it to a phenomenological point of view of artistic creation, we quickly fall into difficulties of conceptual definitions and structural apories [1]. The fundamental aim of this research is to formally define the status of interactive art, by perpetrating a phenomenological examination on the creative process of this specific art, establishing crucial distinctions in order to develop a hermeneutics in favor of creation of new perspectives and aesthetic frameworks. What is interactive creation? Is interactivity, from the computing artistic creativity point of view, the exponentiation of the concept of the open work of art (ECO 2009)? Does interactive art correspond to an a priori projective and unachievable meta-art? What is the status of the artist and of the spectator in relation to an interactive work of art? What ontic and factical conditions are postulated as necessary in order to determine an artistic product as co-created? What apories do we find along the progres- sive process of reaching to a clarifying conceptual definition?This brief investigation will seek to contribute to the study of this issue, intending ultimately, and above all, to expose pertinent lines of inquiry rather than to provide definite scientific and aesthetic answers. |
publishDate |
2011 |
dc.date.none.fl_str_mv |
2011-01-01T00:00:00Z |
dc.type.driver.fl_str_mv |
journal article info:eu-repo/semantics/article |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.7559/citarj.v3i1.26 oai:ojs.revistas.ucp.pt:article/7172 |
url |
https://doi.org/10.7559/citarj.v3i1.26 |
identifier_str_mv |
oai:ojs.revistas.ucp.pt:article/7172 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
https://revistas.ucp.pt/index.php/jsta/article/view/7172 https://doi.org/10.7559/citarj.v3i1.26 https://revistas.ucp.pt/index.php/jsta/article/view/7172/6947 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2011 João Castro Pinto http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2011 João Castro Pinto http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
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application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Católica Portuguesa |
publisher.none.fl_str_mv |
Universidade Católica Portuguesa |
dc.source.none.fl_str_mv |
Journal of Science and Technology of the Arts; Vol 3 No 1 (2011); 10-19 Journal of Science and Technology of the Arts; v. 3 n. 1 (2011); 10-19 2183-0088 1646-9798 10.34632/citarj.2011.3.1 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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