Journal articles: 'Installation art'

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MANRESA, GEMMA ARGÜELLO, and ELISA CALDAROLA. "Installation Art." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 331–32. http://dx.doi.org/10.1111/jaac.12747.

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Bestor, Charles. "Installation art." ACM SIGGRAPH Computer Graphics 37, no. 1 (February 2003): 16–18. http://dx.doi.org/10.1145/763993.763994.

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Vickery, Jonathan. "INSTALLATION ART." Art History 29, no. 5 (November 2006): 957–63. http://dx.doi.org/10.1111/j.1467-8365.2006.00528_7.x.

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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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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 an object in space, it is what is the very space - how much the installation work has the ability to fill the space, integrate into it organically and holistically. At the same time, the main factor in the creation and existence of an installation in the exhibition space, as well as in other relevant arts, is its relationship with the viewer. In this study, the socio-cultural aspect of the installation is important, understanding of the significance of this form of contemporary artistic practices for a common worldview system. Such problems as the assimilation of new experience from the point of view of global processes, on the one hand, and the preservation of the national cultural identity in contemporary art, on the other – actualize the pattern of the process of perception of a new culture. In article it is found out that graphic schools are based on existence of certain art and educational institutions where graphic artists who carry out the teaching activity and own creativity a high mission of formation of new generation of masters create. Not less important factor is acceptance of experience of teachers and its further development in creativity of pupils and followers. Art of installation is an integral part of the modern fine arts of Ukraine. Emergence and development of this art form in the national cultural environment became possible under conditions of intensive creative activity of artists which reached the high level of mastery in connection with deeply philosophical judgment of problems of the present. At the end of XX – the beginning of ХХІ century, looking for new ways of development, the Ukrainian artists addressed installation which as it is possible better answered esthetic inquiries of an era and became a symbol of spiritual updating of the personality. Installation turns into a key factor of development of different spheres of culture, thereby playing a noticeable role in development of national culture. Installation in the modern art helps to be focused and inform of the idea and understanding of global problems to adherents of different genres of art, the audience of different age categories and social groups. Since declaration of independence development of the independent state and formation of own cultural policy aimed at providing free development of national culture and preservation of cultural inheritance begins. The state forms the legislative base which can provide cultural development and an open entry of all citizens to its achievements. In 1992 the Verkhovna Rada of Ukraine accepts "Principles of the legislation of Ukraine about culture" where the basic principles of public policy in the sphere of culture directed to revival and development of the Ukrainian national culture, ensuring freedom of creativity, free development of cultural and art processes, realization of the rights of citizens to access to cultural values, creation of material and financial conditions of cultural development were declared. It is found out that installation is an art equipment which uses the three-dimensional objects intended for change of perception of space by the person. The term "installation" in English appeared long ago – in the XV century. It means process of construction, collecting, drawing up something (now use it also for establishment definition, for example, of the software). With the advent of different technologies – videos, and later and the computer – arose also different types of installations which now peacefully coexist with other arts, for example, painting or a sculpture, without being inferior to them. Hardly somebody will be able to designate exact date of emergence of installations and their judgment as art form. Now installation represents the certain room according to the decision of the author transformed to art space. It is filled with a number of objects to which the symbolical value is often provided. Harmonious connection of things, their arrangement indoors is also art. Installations can be the constant objects exposed in the museums or be created temporarily in public and private spaces. The space of installation can include different types of the things and images circulating in our civilization: pictures, drawings, photos, texts, video, movies, tape recordings, virtual reality, Internet, etc. Installations are regularly presented at the international exhibitions of the modern art, such as Venetian the biennial. The most prestigious art museums and art galleries of the world give to installation art the best platforms from time to time. At the same time, the research of this form of art lags behind the progressing shaping a little. The phenomenon of installation is considered as a part of a performance that is entirely logical. But install processes, especially the last decades, proved what is absolutely self-sufficient the cultural phenomena which need serious scientific approach and judgment, require attention to a research of characteristics install the practician, activity of certain artists, a tipologization and the scientific analysis of modern processes

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CALDAROLA, ELISA. "On Experiencing Installation Art." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 339–44. http://dx.doi.org/10.1111/jaac.12734.

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Mandlis, Lane R. "Art Installation as Method." Qualitative Inquiry 15, no. 8 (July 7, 2009): 1352–72. http://dx.doi.org/10.1177/1077800409339568.

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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 architectural design. The initial hypothesis is that art installations represent the articulation of a place of dialogue between art and architecture, which opens up a new field of research in architectural design. The aim of the research is to show the position of art installations as architectural projects. The applied methodological procedures approach architectural design in a manner of synthesizing the architecture and art in a new form of visual culture. The paper deals with the study of artistic concepts in terms of design, which emphasizes the importance of an interdisciplinary approach to research and the importance of integrating the principles of art in the field of architectural design. The main contribution of this paper is reflected in the expansion of the problem and thematic framework of research on architectural design, contemporary art and their relation. Article received: December 21, 2016; Article accepted: January 10, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this article: Zečević, Marija. "Installation: Between the Artistic and Architectural Project." AM Journal of Art and Media Studies 12 (2017): 55-70

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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 themes and narratives specific to her selection of artwork, specifically interactive digital installations and net art. By addressing these forms, the author illustrates the hybrid nature of this medium and the future of this art practice.

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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 practices for successful collection of data over the course of these trials is developed. Results of the studies are presented, giving insight into human opinions of a variety of natural and artificial systems. In particular, after experiencing the art installation, participants were more likely to attribute action of distinct system elements to non-human entities. Post treatment survey responses revealed a direct relationship between predicted difficulty and perceived success. Qualitative responses give insight into viewers’ experiences watching human performers alongside technologies. This work lays a framework for measuring human perceptions of humanoid systems – and factors that influence the perception of whether a natural or artificial agent is controlling a given movement behavior – inside robotic art installations.

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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 algorithm for artificial intelligence data protection and the BP neural network prediction model under artificial intelligence are also introduced to ensure the safety of interactive installation art works. The part also introduces the creation tools and creation process of interactive installation art works. Finally, in the analysis part, a questionnaire analysis of the World Expo is carried out. The results of this article show that the art of connecting inserts is the most complete and open design era. Advances in science and technology, the development of digital art, and the needs of human life have led to the development of interconnected input technologies. In addition, in the survey of people’s satisfaction with artificial intelligence, we can conclude that 89% of people think that the security of artificial intelligence technology is very high. Yes, 92% of people think that artificial intelligence technology has a fast computing speed, 86% of people think that artificial intelligence technology is low in cost.

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CARRUTHERS, VICKI. "INSTALLATION ART A CRITICAL HISTORY." Art Book 13, no. 2 (May 2006): 41–42. http://dx.doi.org/10.1111/j.1467-8357.2006.00671.x.

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Gay, Pamela. "Installation art: actual meets virtual." Digital Creativity 12, no. 4 (December 2001): 229–35. http://dx.doi.org/10.1076/digc.12.4.229.3217.

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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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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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Yang, Dong, Kun Yuan, and Xiao Dong Liu. "Thinking Development of Fiber Art due to Installation Art." Advanced Materials Research 332-334 (September 2011): 1223–26. http://dx.doi.org/10.4028/www.scientific.net/amr.332-334.1223.

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Although installation art and fiber art are two different modern art categories, as they are both based on sculpt of materials instead of portray, they are usually connected together. With consideration on design, existence form and material concept of installation art, this paper discusses the expansion and performance of these methods in fiber art creation.

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Buț, Georgiana. "Merging Art and Installation: Exhibition Installation in the 20th Century." Studia Universitatis Babeș-Bolyai Philosophia 64, no. 1 (April 1, 2019): 35–62. http://dx.doi.org/10.24193/subbphil.2019.1.03.

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Xuanhong, Liu, and Jin Wan Park. "The relationship between interactive installation art and traditional art." TECHART: Journal of Arts and Imaging Science 6, no. 2 (May 31, 2019): 29–31. http://dx.doi.org/10.15323/techart.2019.5.6.2.29.

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Combrink, Louisemarié. "A Narratological Perspective on Installation Art." de arte 56, no. 2-3 (September 2, 2021): 29–51. http://dx.doi.org/10.1080/00043389.2021.1986275.

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Bush, Sarah B., Karen S. Karp, Victoria Miller Bennett, Liz Popelka, and Jennifer Nadler. "Framing Measurement: An Art Gallery Installation." Mathematics Teaching in the Middle School 18, no. 8 (April 2013): 474–83. http://dx.doi.org/10.5951/mathteacmiddscho.18.8.0474.

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Karlholm, Dan. "The Last Book on Installation Art?" Konsthistorisk tidskrift/Journal of Art History 86, no. 2 (April 26, 2016): 134–37. http://dx.doi.org/10.1080/00233609.2016.1174734.

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OnacloV. "Hijacking Documentary into Video Installation Art." Hyperrhiz: New Media Cultures, no. 3 (August 2007): 1. http://dx.doi.org/10.20415/hyp/003.e01.

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MANRESA, GEMMA ARGÜELLO. "Towards a Philosophy of Installation Art." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 333–38. http://dx.doi.org/10.1111/jaac.12733.

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DEPREZ, ELEEN M. "Installation Art and Exhibitions: Sharing Ground." Journal of Aesthetics and Art Criticism 78, no. 3 (June 2020): 345–50. http://dx.doi.org/10.1111/jaac.12739.

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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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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 especially important in audio and video installations of Rist. This installation by the artist has been assessed in terms of gender, action (movement), expression, freedom and solidarity. The flower used by the woman to smash the car glasses is considered over themes such as nature, life and woman and the fact that a passing by female police officer does not intervene in the situation and goes on her way just by greeting our heroine and smiling is assessed using concepts such as gender, action/movement, expression and freedom. In this research, the effects created by the medium of expression in art are touched upon in the video installation titled Ever is Over All and it has been concluded that the subjects and objects included in the video inspire the solidarity of woman, community and nature. Keywords: video art, Pipilotti Rist, Gender-Action-Expression

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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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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 fashion photographs of the Yayoi Kusama-Louis Vuitton collection. Keywords: Yayoi Kusama, Louis Vuitton, fashion design, art, capsule collection.

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Aaftab, Mohsina. "INSTALLATION ART IN INDIA: CONCEPTS AND ROOTS." International Journal of Research -GRANTHAALAYAH 4, no. 10 (October 31, 2016): 16–20. http://dx.doi.org/10.29121/granthaalayah.v4.i10.2016.2483.

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Present study focuses on the new media Installation Art in India, its present scenario, and backgrounds. Essentially installation art has taken its heritage from conceptual art, which came into prominence in 1970s, when the concept or idea was prominent – when an artist uses a conceptual form of art which means that all of the arrangement and conclusion are made previously and the implementation is an obligatory concern. So, spontaneously idea became a machine that makes the art. An idea suddenly pops in his mind and he just implemented it, in his very own way. This kind of art does not narrow itself to gallery spaces and can refer to any materials intervention in everyday public or private spaces. After India became independent, art began to change here. considerately several movements and group bounced up all over the country headed by ambitious young artists with vision of bringing modern art to India. Now the art of India is totally changed. Contemporaries are not bound to use paper and canvas, wall or any other art surfaces. They are not bound to make mythological paintings or sculptures but they are free to do anything, they are free to use any medium, material and space they want. After a European artist Marcel Duchamp’s “ready-mades artist” started exploring the margin of art, trying to eliminate the contrast between art and life. For conceptual artists art need not look like a traditional work of art. Presented study focuses on the installation work of Indian artists. Four artists were selected by the researcher viz. Subodh Gupta, Shilpa Gupta, Bharti Kher and ChintanUpadhaya. Researcher investigates the concepts behind the art work of selected artists, their methods and materials they have used in their art work. The selection of artist in current study is on the bases of their fame and popularity. Method of the current study is analytical.

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무윈. "A Study on the Installation art characteristics in Fashion Art." Korean Journal of Art and Media 16, no. 1 (May 2017): 139–80. http://dx.doi.org/10.36726/cammp.2017.16.1.139.

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Doran, Sabine. "Archival Art and Open Wounds: From Hofmannsthal to Installation Art." Seminar: A Journal of Germanic Studies 53, no. 3 (September 2017): 234–50. http://dx.doi.org/10.3138/seminar.53.3.04.

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Han, Eunjung, Chee-Onn Wong, Keechul Jung, and Kyung Ho Lee. "Emotion Gesture Art." Leonardo 43, no. 3 (June 2010): 308–9. http://dx.doi.org/10.1162/leon.2010.43.3.308.

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Emotion gesture art is a new type of user modeling and representation in a form of aesthetic art. It consists of a unique combination of color, sound and animation (shape) that in itself creates the same emotional feeling for spectators. Emotion gesture art takes the body posture expression and remaps the communication of emotions into an aesthetic representation. This paper also presents an emotion gesture art installation (eG-art), a system prototype for affective computing. This installation will allow a smart blend of a system for affective computing with aesthetic art representation.

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Yuan, Lu, and Surng Gahb Jahng. "Visual Illusion in New Media Installation Art." TECHART: Journal of Arts and Imaging Science 6, no. 1 (February 28, 2019): 37–41. http://dx.doi.org/10.15323/techart.2019.2.6.1.37.

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Pavlin, Erika, Žiga Elsner, Tadej Jagodnik, Borut Batagelj, and Franc Solina. "From illustrations to an interactive art installation." Journal of Information, Communication and Ethics in Society 13, no. 2 (May 11, 2015): 130–45. http://dx.doi.org/10.1108/jices-02-2014-0007.

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Purpose – The purpose of this paper is to set an example of how people with severe learning difficulties could be more integrated into our society. Design/methodology/approach – The installation consists of puzzles in the form of a specially designed table with an integrated touch screen. As the visual templates for the puzzles serve pictures painted by a person with severe learning difficulties. The pieces of the puzzles are manipulated directly by the player on the touch screen presenting an intuitive and easily learned user interface. Findings – The framework for the work was a creation of an interactive art installation in the form of a game where users assemble puzzles on a touch monitor, housed in a specially designed table. Paintings by a person with severe learning difficulty served as visual templates for the puzzles. The pieces of the puzzles can be manipulated directly by the user on a touch screen presenting an intuitive and easily learned user interface, which stimulates the learning of fine motor skills and encourages practice, thus making it suitable for persons with severe learning difficulties in an art therapy setting. Practical implications – As the work has the format of an interactive art installation, this enables it to gain publicity through exhibitions in art galleries. Social implications – The installation demonstrates how people with severe learning difficulties can be integrated into the broader society. At the same time, these people are encouraged to use modern computer information technology, which is becoming a necessity also for this group of users. Ethical issues regarding how this group of people can get involved in such work are also discussed. Originality/value – Combining the habituation of people with severe learning difficulties with computer technology in the form of a game, and framing the whole process as a fine art undertaking, to win the public recognition, is a novelty in addressing the needs of these people.

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Burns, Jasmine. "René d'Harnoncourt and the Art of Installation." American Archivist 82, no. 2 (September 2019): 662–65. http://dx.doi.org/10.17723/0360-9081-82.2.662.

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Trifonova, Anna, Letizia Jaccheri, and Kristin Bergaust. "Software engineering issues in interactive installation art." International Journal of Arts and Technology 1, no. 1 (2008): 43. http://dx.doi.org/10.1504/ijart.2008.019882.

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Helyer, Nigel, John Potts, and Mark Patrick Taylor. "Heavy Metal: An Interactive Environmental Art Installation." Leonardo Music Journal 28 (December 2018): 8–12. http://dx.doi.org/10.1162/lmj_a_01032.

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This article discusses Heavy Metal, an interactive installation work by Nigel Helyer. The authors situate this work within the context of a collaboration among environmental science, art and media theory, a three-year research project entitled When Science Meets Art: An Environmental Portrait of the Shoalhaven River Valley.

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Nikolic, Predrag K., and Adrian David Cheok. "InnerBody: Using Interactive and Multisensory Interfaces to Design Behavioral Change." Leonardo 53, no. 2 (April 2020): 128–34. http://dx.doi.org/10.1162/leon_a_01720.

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The authors propose using interactive and multisensory interfaces to design user behavior change. For this purpose, they used coauthor Nikolic's interactive art installation InnerBody, created to provoke health-care-related behavioral changes by arousing death anxiety. Visitors are invited to undertake a (fake) medical examination by interacting with the installation's human heart-shaped interface. Research outcomes are presented based on visitors' observations and participant responses in interviews after interacting with the installation.

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Jang, Mi Hwa. ""The spectatorship of video art installation as expansion of cinematic time - focused on (Installation art, Chantal Akerman, 2001)"." Journal of Basic Design & Art 21, no. 4 (August 31, 2020): 359–76. http://dx.doi.org/10.47294/ksbda.21.4.26.

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Cacchione, Orianna. "Related rhythms: Situating Zhang Peili and contemporary Chinese video art in the globalizing art world." Journal of Contemporary Chinese Art 5, no. 1 (March 1, 2018): 21–39. http://dx.doi.org/10.1386/jcca.5.1.21_1.

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Despite being considered the first video artist to work in China, the majority of Zhang Peili’s earliest video works were originally exhibited abroad. In many of these exhibitions, his videos were displayed in different installation formats and configurations. One of the most evident of these changes occurred at the travelling exhibition China Avant-Garde. In Berlin, the opening venue of the exhibition, two videos were displayed in ways that differed from their original presentations; Document on Hygiene No. 3 (1991) and Assignment No. 1 (1992) were presented as singlechannel videos on single monitors instead of the multiple monitor installations previously used to show the works in Shanghai and Paris, respectively. Water: Standard Version from the Cihai Dictionary (1991) premiered in Berlin as a single-channel, single-monitor work. However, when it was installed in the exhibition’s Rotterdam venue, the work was shown on a nine-monitor grid. This article explores what caused the flexibility in the display of Zhang Peili’s early videos. I argue that these transformations demonstrate Zhang Peili’s conceptualization of video as a medium for art and his navigation of the rapidly globalizing art world. While the initial examples of this flexibility in installation were often caused by miscommunications with international curators, later exhibitions provided a regular venue for Zhang Peili to develop his approach to the ‘scene’ (chang) and ‘content’ (neirong) of video installation. Furthermore, as one of the most active Chinese artists working and exhibiting abroad in the 1990s, Zhang Peili was placed within the middle of domestic and international debates about the globalization of contemporary Chinese art. He responded to these debates by expelling signifiers of national identity in his videos and by forcefully deriding these discussions as a form of nationalism. Considering his video work from the perspective of its international presentation provides an important example of how artists working in China situated themselves in relationship to global art production in the 1980s and 1990s.

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Batchelor, Peter. "Grasping the Intimate Immensity: Acousmatic compositional techniques in sound art as ‘something to hold on to’." Organised Sound 24, no. 3 (November 29, 2019): 307–18. http://dx.doi.org/10.1017/s1355771819000372.

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This article explores the accessibility of acousmatic compositional approaches to sound and installation art. Principally of concern is the consideration of intimacy to create a means of ‘connecting’ with an audience. Installations might be said to explore ideas of intimacy in two ways which increase accessibility for the installation visitor: through cultivating installation–visitor relationships, and through encouraging visitor–visitor relationships. A variety of ways in which various acousmatic compositional techniques relating to intimacy might be brought to bear on and operate as a way of drawing a listener into a work are explored, in particular as they relate to the consideration of space and spatial relationships. These include recording techniques, types of sound materials chosen, and the creation of particular spatial environments and listening conditions. Along with a number of instances of sound art provided by way of examples, my ongoing GRIDs series of sound sculptures will provide a case study of works related to an acousmatic aesthetic where these concerns find an outlet.

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Mandell, Hinda. "‘Monstrous’ craft activism: A city yarn installation that wrought controversy through textile togetherness and community engagement." Craft Research 12, no. 1 (March 1, 2021): 31–50. http://dx.doi.org/10.1386/crre_00039_1.

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Yarn has the potential to be monstrous when placed in public places. It can cause controversy, even when carefully planned as a public art installation involving collaboration with business developers and city stakeholders. This article focuses on the fallout from City Hall on one such yarn installation at a public park in Rochester, New York, in summer 2018 and applies the theoretical lens of ‘monstrosity’ used by Nicola Moffat in the book Textiles, Community and Controversy: The Knitting Map. The article demonstrates that while the twelve original tapestries were well received by the Rochester community, they were deemed ‘not natural’ by City Hall and ordered to be removed, despite permission previously granted by a city official. Ultimately, despite the handcraft controversy, this yarn installation ignited a positive community-based response in favour of public art and ‘textile togetherness’, a term defined in this article. And later the tapestries found a second life in a different community revitalization project. The article offers suggestions for future organizers of yarn installations and calls for more public art to be placed in urban areas as the output of community engagement.

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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 immersive cymatics.

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Gu, Yingjie, and Ye Zhou. "Application of Virtual Reality Based on Multisensor Data Fusion in Theater Space and Installation Art." Mobile Information Systems 2022 (August 28, 2022): 1–8. http://dx.doi.org/10.1155/2022/4101910.

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The application of Virtual Reality (VR) in theater space and installation art is the general trend, and it can be seen in large stage plays and installation art exhibitions. However, as the current VR is not mature enough, it is difficult to perfectly fulfill the exhibition requirements of large theaters, so this paper aims to change this situation by using VR based on multisensor data fusion. In this paper, a data fusion algorithm based on multisensors is designed, which improves the data transmission efficiency and delay of the VR system, so that VR can have a better viewing experience in theater space and installation art. And, through the questionnaire survey and actual interview, the actual feelings of VR audience in theater space and installation art are investigated and studied. Through the experimental analysis of this paper, the algorithm in this paper has high reliability and can improve the experience of using VR. The interview results and results show that the main application of VR in theater space is manifested in three aspects: multiangle and all-round viewing, multiroute viewing, and man-machine interaction in art galleries. The application of VR in installation art is mainly reflected in the perception of installation materials.

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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-finished work that if completed would have given viewers “training to be an immigrant, training to vote, protest, and revolt, training to loot, training [in] iconoclasm, training to join a political rally, training to be the objects of propaganda, training to be interrogated and detained and to be tried or to judge, training to reconstruct a disaster, training to be in conditions of suspended law, and training various other social and political behaviors.”

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Mutanda, Peter. "Video Installation Art as a Platform for Promoting Mental Health Awareness." International Journal of Art, Culture, Design, and Technology 12, no. 1 (January 13, 2023): 1–10. http://dx.doi.org/10.4018/ijacdt.316177.

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The author has been exploring the efficacy of video installation art as a meritorious health promotion medium. The researcher first created an original award-winning video installation art project, “The Besiegement: Advocating Mental Health,” which was exhibited for different age groups in various venues around Zimbabwe from 2019 until April 2020. The project did not continue exhibiting until the end of 2020 as planned due to the COVID-19 pandemic. The author has been critically analysing recorded interviews, discussions, audience reception, and views on the installation art experience regarding its possibilities and challenges. The project outcome suggests its potential as an effective medium for empowerment and enlightenment on mental health issues. Thus, video installation art has potential as a commendable developmental communication tool.

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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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DAVIS, RANDAL. "‘… and what they do as they're going …’: sounding space in the work of Alvin Lucier." Organised Sound 8, no. 2 (August 2003): 205–12. http://dx.doi.org/10.1017/s1355771803000116.

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This paper considers the early work of Alvin Lucier and its often problematic positioning between concert and installation work as a means of questioning how installation might be defined. Following an introductory survey of Lucier's work, a history of installation in the visual arts is traced through the debate, initiated by Michael Fried, on the ‘theatricality’ of minimalism. Fried's condemnation of the role of the viewer in what he termed ‘literalist’ art became, contrary to his intentions, a central element in thinking about installation work. Fried's position was recently engaged again by Hal Foster in positing a particular phenomenology of minimalist work, which is seen to be directly relevant to the example of Lucier. Having thus established the relevance of this phenomenology to the consideration of sound installations, whether they are themselves minimal works or not, discussion returns to the problematic example of Lucier, and the conclusion that the boundary between concert and installation works may always be permeable, that a precise morphology of installation will remain elusive.

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Li, Feng. "Material Research of Stone Sculpture in Installation." Applied Mechanics and Materials 484-485 (January 2014): 122–26. http://dx.doi.org/10.4028/www.scientific.net/amm.484-485.122.

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As a unique artistic form of both young and old, urban sculpture art plays a finishing touch to the urban image of the new era, gradually becoming the point to enhance the overall image of modern city. For public art sculpture gradually integrates into modern life, the attention of it is also increasing. A city needs good sculpture to heighten the atmosphere and shows cultural deposits, in the meantime, excellent urban sculpture will also greatly enhance the influence of cultural landscape and public art, effectively creating urban culture brand image and enhancing the city's comprehensive charm.

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Mizerkiewicz, Tomasz. "Art After Democracy, Art Before Democracy." Poznańskie Studia Slawistyczne, no. 17 (November 6, 2019): 15–21. http://dx.doi.org/10.14746/pss.2019.17.1.

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The paper describes today’s new situation of art facing antidemocratic processes. The powerful metaphor of Parthenon of books is used, which once was the name of an installation by Marta Minujín presented just after the fall of Argentinian brutal regime in the early eighties and reinstalled again few years ago. The author points that popular “posts” of humanities (postmodernism, postsecularism etc.) need to be replaced by the philosophy of art being after some definite change. The new temporal and public condition of art being after is the result of its dramatic contemporary and future challenges.

Journal articles on the topic 'Installation art'

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