<p dir="ltr">To pick up on the (excellent) idea that interactive dispositifs are highly personalized: we are now within a "soft skinned space", i.e. a personalized, although open and penetrable space; its name, however, points rather to the fact that this is an intersubjective space where - to quote Manovich - "software takes command".</p>
<p dir="ltr">(To be continued)</p>
<p dir="ltr">Horea</p>
<div class="gmail_quote">Pe 10.07.2015 20:41, "george sabau" <<a href="mailto:george.sabau@gmail.com">george.sabau@gmail.com</a>> a scris:<br type="attribution"><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br><div dir="ltr">
<p class="MsoNormal" style="text-align:justify;line-height:150%"><b>Interactive Dispositifs
</b></p>
<p class="MsoNormal" style="text-align:justify;line-height:150%"><i>New media </i>is a relevant,
conclusive, and encompassing syntagm, although an extremely prolix one; which
is why one might prefer to think of related practices as operations based on <i>digital dispositifs</i> instead. (I use here
the French term, rather than the English quasi-equivalent device or apparatus.)
In this regard, the term <i>inter-subjective
</i>can only become fully operational in relation to the term <i>inter-active</i>. Although <i>interactivity </i>is an essential feature of
any given digital system, its meaning is in turn contingent on the term-concept
<i>interface</i>. As the <i>interfacing</i> occurs between human and
computer, the idea of intersubjectivity is canceled out, since the computer, if
understood as a digital entity, lacks the ability to subjectify itself;
however, as Agamben argues: “digital dispositifs are before all else
instruments that engender <i>subjectifying processes</i>”
(2010) in relation to users. Therefore, the most creative contributions emerge on
the side of the observers / spectators, inevitably leading to <i>intersubjective relationships</i>, both as acts
of reception and interpretation, as well as in authorial-creative
processes.<span> </span></p>
<p class="MsoNormal" style="text-align:justify;line-height:150%">Even though the forms of expression that <i>interactive dispositifs </i>may take are not manifold, they are nonetheless
highly personalized; I’m referring here to art works made on <i>disk </i>support<i> </i>– cd.rom, d.v.d. – which may also include projections and displays,
as well as <i>network </i>pieces – net.art,
web art – or analog-digital pieces, which would fit under the eclectic category
of <i>installations</i>. In this context, it
would be hard to speak of various degrees of <i>intersubjectivity</i>, except to the extent to which there is a higher
or lower degree of <i>interactivity</i>,
which leads us to a <i>top three </i>in participatory
density. It thus becomes evident that a maximum of interactivity belongs to
Internet-based forms of expression, followed by works made on disk formats, and
by installations with fewer interactive capabilities.<span> </span></p>
<p class="MsoNormal" style="text-align:justify;line-height:150%">Certainly this “plain text” (I like it …) is based on a
selective bibliography, which is nonetheless also consistent with the
exhibition practices that have been at work for several decades in the kinema
ikon atelier.</p><p class="MsoNormal" style="text-align:justify;line-height:150%"><br></p><p class="MsoNormal" style="text-align:justify;line-height:150%">George Sabau </p>
</div><div class="gmail_extra"><br><div class="gmail_quote">On Wed, Jul 8, 2015 at 5:18 PM, Ileana Selejan <span dir="ltr"><<a href="mailto:ileanasel@gmail.com" target="_blank">ileanasel@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">----------empyre- soft-skinned space----------------------<br>
Following-up on our previous post: for this week's discussion we're<br>
pleased to introduce Horea Avram (RO/CA) and George Sabau (RO). Dr.<br>
Avram is a professor at Babeş-Bolyai University in Cluj, where he<br>
teaches classes on new media art and related topics; he is a prolific<br>
writer & brilliant theorist who has also worked on various exciting<br>
curatorial projects, which he might be tempted to elaborate upon in<br>
this present context. Mr. Sabau is the founder of kinema ikon ca.<br>
1970, the oldest experimental arts group in Romania. As a teacher and<br>
mentor, he has been a formative figure for several generation of<br>
artists and experimenters. You can read more about their history and<br>
current work here <a href="http://kinema-ikon.net/" rel="noreferrer" target="_blank">http://kinema-ikon.net/</a> ... Extended biographies<br>
below.<br>
<br>
George Sabau, multimedia theorist, born in 1937 in Arad (Ro.).<br>
University BA in Aesthetics. Researcher at the Art Museum of Arad and<br>
professor at the Highschool for Fine Arts. Founder (1970) and animator<br>
of the atelier kinema ikon. Author of experimental films, video-art<br>
and co-author of hypermedia works on cd-roms, which participated at<br>
international exhibition of digital art. Theoretical texts on cinema,<br>
video and multimedia published in anthologies, catalogues, and various<br>
art magazines, including Intermedia, issued by kinema ikon. AICA<br>
membership. A promoter of the theoretical fiction with application in<br>
multimedia installation. (2015)<br>
<br>
Horea Avram is Lecturer at the Department of Cinematography and Media,<br>
Faculty of Theatre and Television, Babeş-Bolyai University, Cluj,<br>
Romania. Doctoral studies in Art History and Communication Studies at<br>
McGill University, Montreal. He researches and writes about new media<br>
art, representation theory, technology and visual culture. His most<br>
recent publications include “Augmented Reality”, Encyclopedia of<br>
Aesthetics, Oxford and New York: Oxford University Press, 2014; “The<br>
Visual Regime of Augmented Space”, in Theorizing Visual Studies:<br>
Writing Through the Discipline, James Elkins (ed.), New York:<br>
Routledge, 2013. He publishes essays in: M/C Media and Culture<br>
Journal, International Journal of Arts and Technology, Kinephanos,<br>
Ekphrasis, Idea. Art + Society, Arta, etc. Independent curator since<br>
1996. He has curated most notably for Venice Biennale in 1999.<br>
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