Bare Nothingness: Situated Subjects in Embodied Artists' Systems

Bare Nothingness: Situated Subjects in Embodied Artists' Systems

Eleanor Dare, Elena Papadaki
Copyright: © 2016 |Pages: 33
DOI: 10.4018/978-1-4666-8659-5.ch002
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Abstract

This chapter examines the current state of digital artworks, arguing that they have not yet made a groundbreaking impact on the cultural landscape of the early 21st century and suggesting that a reason for this lack of notoriety is the obsolete model of agency deployed by many digital artists. As an alternative to what is framed as out-of-date forms of interactivity, the chapter highlights evolving research into interactive systems, artists' tools, applications, and techniques that will provide readers with an insightful and up-to-date examination of emerging multimedia technology trends. In particular, the chapter looks at situated computing and embodied systems, in which context-aware models of human subjects can be combined with sensor technology to expand the agencies at play in interactive works. The chapter connects these technologies to Big Data, Crowdsourcing and other techniques from artificial intelligence that expand our understanding of interaction and participation.
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Setting The Stage

The late 1960s and early 1970s signalled the arrival of a new era for exhibition practices as well as the birth of what was later to be called ‘media art’. It is appropriate to briefly examine the events of this period, since it laid the foundations for the inclusion of digital works as an acceptable art practice and various issues around display strategies (in relation to new media and technological innovation) that occupied curators, historians and critics at the time and which still prevail today1.

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