Interact | Interaction | Interactive / Interactivity
"The idea that there is such a thing as fixed form is actually as much an assumption about perception as it is an assumption about art. It assumes that vision is not dynamic – that it is a passive, transparent registering of something that is just there, simply and inertly. If vision is stable, then to make art dynamic you have to add movement. But if vision is already dynamic, the question changes. It’s not an issue of movement or no movement. The movement is always there in any case. So you have to make distinctions between kinds of movement, kinds of experimental dynamics, and then ask what difference they make."
Vibrant Matter | Dynamic Environments
On Vibrant Matter, A Political Ecology of Things by Jane Bennet
"If human culture is inextricably enmeshed with vibrant, nonhuman agencies, and if human intentionality can be agentic only if accompanied by a vast entourage of nonhumans, then it seems that the appropriate unit of analysis for democratic theory is neither the individual human nor an exclusively human collective but the (ontologically heterogeneous) ‘public’ coalescing around a problem” (Bennet, 108).
Evolution of the Earth
Visual Representation of The History of Life on Earth (link)
Spiral Jetty, 1970 (link)
Wind Veil, 2000 (link)
My artworks frequently incorporate flowing water, fog, sand and light to create complex and continually changing systems. Many of these works can be seen as “observatories” in that they frame and enhance our perception of natural phenomena. I am intrigued with the way patterns can emerge when things flow. These patterns are not static objects, they are patterns of behavior – recurring themes in nature.
Phillip Beesely Architects
Near-Living Responsive Architecture, Hylozoic Ground 2010 (link)
Performer/ Spectator | Performative Environments
Performance, All Over the Map: Chris Salter's "Entangled"
By Maria Chatzichristodoulou [aka Maria X]
“everything has become performative” (p. xxi)... a shift in the zeitgeist that occurred at the end of the 20th and the beginning of the 21st century, when the euphoria of the virtual was replaced with a reconsideration and re-foregrounding of the physical body and, with it, “embodiment, situatedness, presence, and materiality.”
As a result, claims Salter, “performance as practice, method, and worldview is becoming one of the major paradigms of the twenty-first century, not only in the arts but also the sciences.”... what performance suggests as a worldview is that 'reality' is not pregiven (and thus cannot be represented), but rather “the world is enacted or actively performed anew.” (p. xxvi) Thus, approaching the world as 'performative', is approaching the world as a 'reality' that “emerges over time” and is “continually transformed through our history of interactions with it.” (Salter, p. xxvii)
In The Air, 2003 (link)
ilinx, 2015 (link)
Rafael Lozano Hemmer
Sandbox 2010 (link)
Topological Media Lab
Einstein's Dream, 2013 (link)
In one version of this project, a large theatrical space (24m x 20m x 8m) will contain multiple tableaux, each accommodating 6-12 people in a pool of light and sound modulating in concert with activity. Visitors and performers can move from tableau to tableau. The performers’ actions, together with the textures and rhythms of lighting, sound and visitors’ expectations, create different kinds of time poetically related to the novel’s vignettes. As a performer walks from place to place she may drag a pool of conditioning light and sound. The pool mutates or merges into another pool with a different type of time.