Prologue

In the spirit of continuing my previous discussion on whether an artwork should be interactive or not (here), after reading the materials provided in this week’s module, I would like to share my thoughts on the readings, specifically focusing on the asking a simple but perhaps provocative question:

How far can you take someone to an alternate reality?

Interactive artworks are ones that are capable of ‘reacting’ to the audience’s actions. This reaction comes in various forms, from a simple thought to a complex response involving participatory of human senses.

In class, we discussed how the Dadaists challenged ‘conventional’ art by introducing randomness and chance into their works. This idea of randomness and chance can be seen as the foundation for interactivity, where the audience’s actions can influence the outcome of the artwork.

One point that I take away from this phenomenon is that some Dadaists challenged the conventional prenotion of art: a static object that can only evoke thoughts and emotions. and instead wished for a higher form of engagement, where the audience can actively participate in the creation of the artwork. I believe both are interactive in their own way, but the latter offers a more ‘immersive’ experience.

An alternate reality here, as simply as I would define it is that the moment the audience engages with the artwork, they are transported to a different world albeit shortly. In other worlds, a sufficiently good lie which makes us forget the reality for a moment. A good world-building is not an easy feat. It requires a deep understanding of the medium, the audience, and the context in which the artwork is presented. Krueger understands this weight and suggests that we should consider two things: the technology (computer) and the humans.

My own interest in artificial realities lies in the possibility that they will yield totally new kinds of aesthetic experience. If they produce nothing more provocative than contemporary art then they are not worth doing. Therefore, I pursue the directions that seem most fundamental to the medium. Often, these are exactly the directions that are most unlike traditional art (p. 57).

As I noted earlier, what differs about interactive artworks is the level of engagement. The more senses that are involved, the more immersive the experience. This is where technology comes into play. With the advancement of technology, we can now create more immersive experiences that can engage multiple senses. Krueger emphasized another important notion: the outcome lies in the hands of the audience.

As an interactive artistic medium, artificial realities differ from earlier art in that the artist leaves the work unfinished. Its completion is provided by the unique behavior of each individual who interacts with it.

To elaborate further, Lynn emphasizes that interactive systems (which I suppose interactive artwork, too) requires audience's reaction. Technology allows the blurring between reality and fiction, to which:

Action becomes icon and relies on movement and plasticity of time—icono plastics and logomotion. According to Freud, reality may be limited to perceptions that can be verified through words or visual codes. Therefore perceptions are the drive to action that influences, if not controls, real events. Perceptions therefore become the key to reality.

Wrapping Up Reality

In conclusion, I believe that interactive artworks have the potential to create alternate realities that can engage multiple senses and provide a more immersive experience. However, creating a convincing alternate reality is not an easy feat. It requires a deep understanding of the medium, the audience, and the context in which the artwork is presented. As Krueger and Lynn suggest, technology plays a crucial role in creating these experiences, but ultimately, it is the human aspect: audience’s engagement that brings the artwork to life.

Resources

• Kruegger, Myron. 1991. What Should You Wear to an Artificial Reality? - In Proceedings of the International Conference on Artificial Reality and Telexistence, 51–62

• Lynn Hershman, The Fantasy Beyond Control, 1990