Relevant bibliographies by topics / Experiential installation

Academic literature on the topic 'Experiential installation'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Experiential installation"

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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 participated in the creation of an art installation. The results of this research suggest that art installations do promote long-term fact retention. Therefore, the use of art installations can be considered an interesting method of conveying science in an attractive, reliable, and memorable way.
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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 applying this musical perspective to macro-scale formal structures, a set of tools and concepts become available for the analysis of temporal form in existing sound or audiovisual installations. Using practice-based observation and analysis, I describe several compositional strategies through which musical concepts of material and form can be extended in space and time: each of these strategies provides means with which to shape or constrain the visitor’s co-production of experiential form. Finally, I discuss several strategies that can be used for the creation of large-scale form, with particular reference to algorithmic design principles used in my recent audiovisual installation, Room Dynamics.
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Lavis, Catherine C., and Laura A. Brannon. "An Experiential Learning Activity in a Landscape Irrigation Undergraduate Course." HortTechnology 20, no. 2 (April 2010): 467–74. http://dx.doi.org/10.21273/horttech.20.2.467.

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In the Fall 1999 semester, the Department of Horticulture, Forestry, and Recreation Resources at Kansas State University introduced a 3-credit-hour irrigation system principles and installation course with experiential learning as the core of the instructional format. The experiential learning component of the course is the multiweek installation of a residential irrigation system during the laboratory sections that allows students to learn the procedural skills necessary to properly install an irrigation system. To assess the influence that this experiential learning activity may have on students' confidence to perform specific irrigation installation skills, a survey was administered to 70 undergraduates enrolled in the course (HORT 550: Landscape Irrigation Systems) during the Fall 2006 and 2007 semesters before and after the completion of the irrigation system. Using a Likert scale, students responded to two questions pertaining to 10 specific irrigation skills used during the installation project: 1) whether they actually performed the particular skill during the installation (coded 0 = did not assist, 1 = did assist); and 2) how confident they were to perform that aspect of installation on their own (on a 9-point Likert scale with 1 = not at all confident to 9 = extremely confident). The correlation between whether students actually performed the particular skill during the installation and how confident they were that they could actually do it on their own was significant (r = 0.46, P < 0.0001). During the Fall 2006 semester, 44 students were asked to compare their actual experience installing the system to what they learned during lecture and by reading the textbook; participants said that installing the system greatly increased their understanding (mean = 7.84, sd = 1.41) and increased their confidence to perform particular skills (m = 7.84, sd = 1.03). As documented in the survey, students benefitted significantly from this experiential learning activity.
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Macdonald, Geraldine (Jody), and Judith A. MacDonnell. "6. Transforming Diversity Tensions: Shifting Knowledge Through Arts-Based Practices." Collected Essays on Learning and Teaching 1 (July 1, 2011): 35. http://dx.doi.org/10.22329/celt.v1i0.3175.

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In this paper, the authors engage in a dialogue to illustrate their teaching practice with experiential arts-based diversity learning. The adult education theoretical frameworks of transformative learning/unlearning and experiential learning frame the paper. Examples of experiential arts-based diversity learning include: participating in experiential role-playing during the ‘animal game,’ creating paper figures that represent participant diversities, and creating an impromptu human installation.
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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 art, the spectator is compelled to extend – rather than complete – the work of art in his/her own time, prior experiential encounters and transformative afterthoughts. The shift from the isolated work of art to the experiential one not only complicates how and where works of art are viewed, but also radicalizes the materials that constitute the work of art – whether those materials are extracted from the quotidian sphere or complex technologies, each undergoes a process of defamiliarization and reactivation to produce the transformative aesthetic experience. The individual installations in Inhotim’s “outdoor museum” engage the spectator in a dynamic/participatory experience with spatial, temporal and material relationships that define the very essence of art’s reciprocity, or contrast with the natural and man-made worlds. It is the rarefied setting of Inhotim’s botanical gardens that makes the participatory and transformative experience central to the aesthetic encounter with installation art.
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이숙진, 김정연, and Joo Yun Kim. "A Study on the Experiential Space Expressed through Installation Art." Journal of Korea Intitute of Spatial Design 6, no. 2 (June 2011): 125–32. http://dx.doi.org/10.35216/kisd.2011.6.2.125.

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De Bérigny Wall, Caitilin, and Xiangyu Wang. "InterANTARCTICA: Tangible User Interface for Museum Based Interaction." International Journal of Virtual Reality 8, no. 3 (January 1, 2009): 19–24. http://dx.doi.org/10.20870/ijvr.2009.8.3.2737.

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This paper presents the design and concept for an interactive museum installation, InterANTARCTICA. The museum installation is based on a gesture-driven spatially surrounded tangible user interface (TUI) platform. The TUI allows a technological exploration of environmental climate change research by developing the status of interaction in museum installation art. The aim of the museum installation is to produce a cross-media platform suited to TUI and gestural interactions. We argue that our museum installation InterANTARCTICA pursues climate change in an interactive context, thus reinventing museum installation art in an experiential multi-modal context (sight, sound, touch).
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Dufour, Frank, and Lee Dufour. "DreamArchitectonics: An Interactive Audiovisual Installation." Leonardo 51, no. 2 (April 2018): 105–10. http://dx.doi.org/10.1162/leon_a_01188.

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This article presents the processes that guided the production of the interactive artwork DreamArchitectonics, attempting to render perceivable the altered experience of time characteristic of the dream-state. This project originated with the observation of dream reports that were revealed, across a broad variety of contents, to be relatively invariant in form, with this form appearing to function as a mnemonic artifact allowing the dreamer to actually remember dreams. The details of the representational process applied to oneiric time and manifested in these artifacts have been identified to resonate meaningfully with poetic expression, especially in its relationship to the sensation of movement. DreamArchitectonics aims at producing the context for an experiential synthesis of this intuition and acting as the generator of phenomenological data in a disposition that the authors envision as the most fruitful for collaboration between arts and sciences.
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Stearns, Dan, and Martin McGann. "Experiential Partnerships Enhance Student Learning during Construction of Campus Gardens." HortScience 40, no. 4 (July 2005): 1134A—1134. http://dx.doi.org/10.21273/hortsci.40.4.1134a.

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Students in a Penn State landscape contracting class were involved in the construction of the Hintz Alumni Gardens from Nov. 2002 through Apr. 2005. While campus construction projects have long been a part of the curriculum, the scope and complexity of the Alumni Gardens created unique challenges and opportunities for learning. The project was broken into phases that were installed over a 3-year time period. Professional staff from the University's Office of Physical Plant, including landscape supervisors, masons, electricians, plumbers, and carpenters, were integrated into course activities. They worked with students during planning phases and throughout field operations. Students learned first-hand from experts who had years of experience in their discipline. In addition, three contractors were hired to lead activities in specific areas of bridge construction, pond construction, and irrigation installation. This unique collaboration exposed students to a wide variety of construction techniques, and gave them experience in project management, scheduling, and procurement. The end result of their efforts was a successfully completed garden installation.
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Mast, Sara, Jessica Jellison, Christopher O’Leary, Jason Bolte, Cindy Stillwell, Charles Kankelborg, Nicolás Yunes, Joey Shapiro Key, and Jessica Raley. "Black (W)hole: An Artscience and Education Collaboration." Leonardo 49, no. 1 (February 2016): 19–24. http://dx.doi.org/10.1162/leon_a_01165.

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Black (W)hole is an immersive art installation created collaboratively by artists and scientists utilizing data visualization of an extreme mass ratio inspiral (EMRI) and the sonification of its emitted gravitational waves in an experiential work of “artscience” and science education. The sensory-rich environment of the installation engages mind and body, expanding and enriching the participant’s capacity to imagine and wonder about the beauty and meaning of this highly abstract astronomical object, the black hole. The work investigates both historical and current gravitational wave astronomy, illustrating our 21st-century understanding of the cosmos.
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Dissertations / Theses on the topic "Experiential installation"

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Trimm, Alexandra. "The Frozen Moment: Representations of Space, Time and the Experiential in Installation Art." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/313.

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This paper examines the history of installation art and explains the concept and themes within my installation component of the studio art major. It details how readymades, site-specificity, and an emphasis on experiential work all contributed to the creation of installation art as a medium. Next, I turn to my own work, exploring the theme of representing time and altering the perceptions of the viewer. Through a web of fishing line and tempered glass, the installation visually imitates a single, frozen moment of an explosion that the viewer can walk into and explore. The paper continues with a discussion of relevant themes in the work by contemporary artists Ori Gerst, Heide Fasnacht, Cornelia Parker, E.V. Day, Lee Bontecou, and James Turrell, and concludes with ideas for the continuation of the project in the spring 2014 semester.
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Peacock, Mary, and not supplied. "Under the Bitumen the River - Translating the Imagination." RMIT University. Art, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080804.150756.

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The project was informed by non-rational modes of perception which explored the matrix of dream, imagination, my body and the viewer. The material from this matrix was brought together and translated into artworks through the use of every day materials, techniques and procedures. The resulting artwork offered an experience in the form of an installation which included projected images, aural landscapes, tactile surfaces and spatial constructions.
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Carson, Jennifer Elaine. "Shiver." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1403.

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Dissipating through growth; Solving within illusion; Resilience in vulnerability. Through enveloping strands of tenuous connections, translucent flesh-like layers, and subtle movement through touch, my thesis installation entitled "Shiver" makes reference to the Sublime as it asks the infinite question; What is my primordial self?
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Goss, Scott. "When I'm Not Here." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397773821.

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Fong, Helen. "The image as metaphor an exploration into the metaphorical and experiential operations of the installed image : this exegesis [thesis] is submitted to Auckland University of Technology in partial fulfilment of the degree of Masters of Art and Design, 2003." Full thesis. Abstract, 2003.

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Thesis (MA--Art and Design) -- Auckland University of Technology, 2003.
Illustrations not included in e-thesis. Also held in print (21 leaves : col. ill. ; 30 cm. + 1 CD-ROM) in Wellesley Theses Collection (T 709.93 FON)
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Book chapters on the topic "Experiential installation"

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Gu, Sijia, Yue Lu, Yuwei Kong, Jiale Huang, and Weishun Xu. "Diversifying Emotional Experience by Layered Interfaces in Affective Interactive Installations." In Proceedings of the 2021 DigitalFUTURES, 221–30. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5983-6_21.

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AbstractThis paper aims to improve users’ experience in affective interactive installations through the diversification of interfaces. With logically organized hierarchical experience, diverse interfaces with emotion data as inputs enhance users’ emotional interaction to be more natural and immersive. By using facial affect detection technology, an installation with diverse input interfaces was tested with an organic formal setting. Mechanical flowers and support structure based on the organic form were deployed as its physical output for a multitude of sensorial dimensions. With actions of the mechanical flowers, such as blooming, closing, rotating, glowing and blinking, a layered experiential sequence was created and the atmosphere of the installation was evaluated to be more engaging. In this way, the layered complexity of information was transferred to users’ immersive emotional experience. We believe that the practices in this work can contribute to deeper emotional engagement with users and add new layers of emotional interactivity.
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Elixmann, J. H., W. Jorde, and H. F. Linskens. "Filters of an Airconditioning Installation as Disseminators of Fungal Spores." In Experientia Supplementum, 283–86. Basel: Birkhäuser Basel, 1987. http://dx.doi.org/10.1007/978-3-0348-7491-5_48.

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Lillie, Jonathan, and Michelle Jones-Lillie. "Analyzing Disney's Early Exhibits as Installation Art Work." In Handbook of Research on Maximizing Cognitive Learning through Knowledge Visualization, 415–34. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8142-2.ch014.

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This chapter compares several Disney exhibits—particularly those narrativizing technological innovation—to immersive installation artwork in order to explore the importance of narrative and textual reference in creating powerful immersive installations as presentation of technological and scientific knowledge through multiple media. The narrative craft of exhibits such as the Ford Magic Skyway and GE Carousel of Progress, which Disney created for the 1964-65 World's Fair in New York, are compared to works within the genre of installation art, which has developed greatly since the 1960s. Similar to Disney, many artists have deployed immersive installation art exhibits to envelop audiences in a detailed aesthetic and conceptual narrative. Some educational institutions have also used experiential education installations, especially for teaching scientific concepts.
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Conference papers on the topic "Experiential installation"

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Wakeland, R. G. "Eco-art installation: experiential nature." In DESIGN AND NATURE 2012. Southampton, UK: WIT Press, 2012. http://dx.doi.org/10.2495/dn120111.

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El-Gabry, Lamyaa, and Martina Jaskolski. "Offering Engineering Students Global Prospective Through Experiential Learning Project in Wind Energy and Sustainability." In ASME Turbo Expo 2019: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/gt2019-92060.

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Abstract Students from Princeton University partnered with students from the American University in Cairo in a three-week intensive hands-on field experience in Egypt. The project was to assemble, install and test a wind mill driven pump used for irrigation and to survey communities across Egypt in the Delta and Red Sea coast to assess water needs in these communities. The course offered a perspective on sustainable development in Egypt followed by water and energy resource challenges in Egypt’s diverse geographic areas. Students assembled a wind pump and installed it at the American University in Cairo for testing prior to installation at El Heiz, a desert oasis community in the Western Desert. The students were selected from diverse backgrounds in Mechanical and Aerospace Engineering, Civil and Environmental Engineering, Computer Engineering, and Operations Research and Financial Engineering and learned the value of having diverse teams address engineering problems in a truly global context. This paper presents the case study including lessons learned in implementation of this experiential learning field project.
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Rönnberg, Niklas, and Jonas Löwgren. "Photone: Exploring Modal Synergy in Photographic Images and Music." In The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.022.

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We present Photone, an interactive installation combining photographic images and musical sonification. An image is displayed, and a dynamic musical score is generated based on the overall color properties of the image and the color value of the pixel under the cursor. Hence, the music changes as the user moves the cursor. This simple approach turns out to have interesting experiential qualities in use. The composition of images and music invites the user to explore the combination of hues and textures, and musical sounds. We characterize the resulting experience in Photone as one of modal synergy where visual and auditory output combine holistically with the chosen interaction technique. This tentative finding is potentially relevant to further research in auditory displays and multimodal interaction.
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