Abstract
This chapter looks at interactivity and interactive art systems in relation to traditional aesthetic categories and artistic practice. Central to the chapter is an analysis of the tension between the autonomous artist and the interactive artist. Interactive art is theorized as belonging to a kind of practice which seeks to transcend, or at least refine, traditional categories such as autonomy. The author posits that the evaluation of interactive artworks must recognize the complex manner in which these artworks relate to the traditional social categories of art practice.
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Notes
- 1.
This does not preclude the existence of music and art in the service of other heteronomous configurations such as courtly ritual etc.
- 2.
Indeed in a press release the studio describes the work – situated within in a church in Lille – as a “techno-church”.
- 3.
Adorno did acknowledge this position, citing Stockhausen as its source, in his essay from 1961 Vers une musique informelle (Adorno 1992, p. 276).
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Simon, S.L. (2014). Interactive Art, Autonomy and Evaluation. In: Candy, L., Ferguson, S. (eds) Interactive Experience in the Digital Age. Springer Series on Cultural Computing. Springer, Cham. https://doi.org/10.1007/978-3-319-04510-8_5
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