Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Etude sur les fondements biologiques, psychologiques et culturels de la réception de l'art interactif, à travers la confrontation de deux théories : l'énaction de F. Varela et le psycho-social de G. Simondon. Tenant compte des tensions entre nature et culture, entre universel et singulier, elle aboutit à la notion de somagraphie, qui problématise la place du corps dans les oeuvres numériques. ©Electre 2016

Interactive art --- Art interactif --- Art numérique

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Comment notre corporéité, notre perception et notre expérience esthétique se trouvent-elles transformées par les dispositifs interactifs de plus en plus présents dans l'art actuel? Pour examiner cette question, l'auteure nous invite dans la traversée de quatre installations interactives : Taken de David Rokeby, Cubes à sons/bruits/babils de Catherine Béchard et Sabin Hudon, BrainStorm de Jean Dubois et Mécanique Générale de Thierry Guibert.

Interactive art --- Art, Modern --- Art interactif --- Art

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Une analyse des nouvelles dynamiques de l'image interactive qui confronte la méthode scientifique et la démarche des artistes numériques contemporains. L'accent est mis sur la pluralité des modes d'existence des images numériques et la dimension anthropologique et socio-politique des pratiques artistiques et activistes des médias. ©Electre 2017

Art numérique --- Art interactif --- Digital art --- Digitale kunst --- Art numérique --- Video art --- Digital images --- Installations (Art) --- Art numérique. --- Art interactif.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"In October 2017, four internationally influential practitioners of immersive experiences gathered at the Snug Harbor Cultural Center on Staten Island in New York for a panel discussion on the creation of immersive productions. The panel, entitled "All the World is a Stage," was part of the Future of Storytelling Festival 2017 (FoST FEST), advertised as "the world's leading immersive storytelling event." During this discussion, each of the four panelists described examples of their work. Hector Harkness, Associate Director of Punchdrunk International, explained how the company created productions that "rip up the rules for the audience" so they can "go beyond the boundaries of closed environments." Food technologist, experience designer, and multimedia artist Emilie Baltz described inviting audiences to step up to a microphone and use their tongues, teeth, and lips to play musical popsicles in an installation called PopStars. Jon Sands, founder of Poets in Unexpected Places, revealed how his strategic placement of poets on subway cars across New York City turned commutes into impromptu poetry slams for unsuspecting riders, some of whom joined in by improvising their own poetic works. Justin "JB" Bolognino, CEO (Chief Experience Officer) of META, an experience production company, described his commissioning of Jon Morris, artistic director of the Brooklyn-based Windmill Factory, to design a music-festival queue into an experiential artwork. Entitled Right Passage, the work was a "room-scale sound and light performance installation" involving moving walls that guided festival participants efficiently into the concert venue (Windmill Factory 2017). Through their detailed descriptions of how their productions organized the bodies of performers and spectators in space and time, the panelists hinted at the presence of choreography in their productions"--

Interactive art. --- Choreography. --- Art and dance. --- Art interactif. --- Chorégraphie. --- Art et danse. --- Future of StoryTelling Festival

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Publiés à l'occasion du colloque du même nom qui s'est tenu au MAC/VAL du 6 au 8 décembre 2013, ces textes invitent à concevoir l'exposition non plus comme simple lieu de représentation mais comme espace d'échanges et d'invention collective. Les intervenants s'interrogent sur le partage de la responsabilité artistique et politique entre l'artiste, le public et le musée.

Art --- Interactive art --- Arts audiences --- Art --- Art interactif --- Arts --- History --- Histoire --- Publics