Borderlessness: teamLab, Immersive Experience, and New Media Installation Art

This major research paper explores the characteristic of borderlessness that applies to interactive installation art. "Borderlessness" is a concept that teamLab (a Japan-based interdisciplinary art group) pursues in their interactive installation artworks, which indicates the immersive spatial sense that spectators experience. With the complex computer programming design in teamLab's artworks, borderlessness challenges the conventional ocularcentric experience in exhibitions and innovates a new trend in immersive exhibitions. My paper analyzes two case studies from teamLab’s oeuvre: Forest of Flowers and People: Lost, Immersed and Reborn (2017) and Crows Are Chased and the Chasing Crows Are Destined to be Chased as Well (2017). Both projects apply the strategy of borderlessness to themes concerning the natural world, yielding works that have achieved popular success worldwide. This MRP argues that the success of teamLab’s exhibitions gained support through the general trend of the “experience economy.” Artworks involving new media, installation, immersion and interactivity – embodied by teamLab’s concept of “borderlessness” – both exemplify the experience economy and expand beyond the term to develop a more embodied and participatory understanding of aesthetic experience

INSTALLATION ART IN INDIA: CONCEPTS AND ROOTS

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 Chintan Upadhaya. 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

Illusion: Immersive Experience

Can society learn from art, and if so, what type of knowledge can be gained from art? It is currently understood that art and design can help humans explore, discover, and understand philosophical and imaginative topics. There is a general agreement that art can create insight and awareness in ways that logical and rational statements cannot, and from these unique interactions, humans can see the world with a new perspective (Worth, n.d.). This thesis will investigate the claim that art can inspire human imagination and allow viewers to gain insight into a surreal reality using designed, physically immersive spaces. Immersive art environments have the potential to make art-related interactions increasingly influential and meaningful. With the aid of new technologies, immersive art museums have strengthened the relationship between the audience, the work, and the artist by creating a deeper level of conceptual understanding and disrupting the border between them. These highly sensory experiences push viewers to explore a space thoughtfully, making it possible for guests to become active participants or even co-creators in immersive artworks. This new method of presentation allows an audience to fully experience the narrative of the artist (Hua, 2021). Literature reviews of immersive spaces will provide an understanding of how to design an effective art experience that will be interactive and educational. A second method of investigation will involve attending ongoing digital art installations, presenting an opportunity to analyze and document movements throughout space, the emotions evoked by the work, and interactions between participants. Immersive experiences aim to dismiss the physical and mental borders between viewers and works of art, engaging an audience’s sense of sight, sound, and touch. After a visit to ARTECHOUSE, one can understand that immersive art galleries also provide the benefit of transporting their visitors to a world that greatly differs from physical reality. In this new “world” guests are free from physical borders and can develop a new spatial awareness that makes users feel as though spaces extend past their physical areas. This deeply sensory experience makes it easier for visitors to absorb and retain knowledge from the content of the experience itself (Hua, 2021). The research conducted on immersive art environments, and their ability to impact humans and society as a whole, will drive the design of a new immersive art space. This immersive art space will inspire imagination and new ways of thinking

Light fountain – a virtually enhanced stone sculpture

The article describes the making of an art piece combining stone sculp- ture and digital fluidity. The motivation for this simulation was to enrich the usual static format of a stone sculpture with a dynamic dimension. Such digitally enriched sculpture should resemble water droplets running over the stone surface while obeying physical laws. The 3D surface of a specially designed and carved stone sculpture is continuously captured by the Kinect range sensor. Each water drop out of many thousands, which are introduced as rain drops falling evenly distributed over the sculpture, are simulated individually to run over the stone following the maximal gradient of the 3D surface. These simulated water drops are then projected as light points with a video projector on the surface of the sculpture. An admirer can enjoy the haptic experience of touching the stone surface while observing a digitally generated but physically grounded ever-shifting fluidity

Light fountain – a virtually enhanced stone sculpture

The article describes the making of an art piece combining stone sculp- ture and digital fluidity. The motivation for this simulation was to enrich the usual static format of a stone sculpture with a dynamic dimension. Such digitally enriched sculpture should resemble water droplets running over the stone surface while obeying physical laws. The 3D surface of a specially designed and carved stone sculpture is continuously captured by the Kinect range sensor. Each water drop out of many thousands, which are introduced as rain drops falling evenly distributed over the sculpture, are simulated individually to run over the stone following the maximal gradient of the 3D surface. These simulated water drops are then projected as light points with a video projector on the surface of the sculpture. An admirer can enjoy the haptic experience of touching the stone surface while observing a digitally generated but physically grounded ever-shifting fluidity

Welcome to the revolution: The sensory turn and art history

Discourses concerned with the sensorially embodied subject have emerged since the 1990s in various disciplines including history, anthropology, sociology, geography, film studies and literary studies. The purpose of this article is to bring the conversation regarding audiences’ embodied engagement in culture closer to art history by investigating the implications of what has been termed the sensory turn for this discipline. One of the accusations lodged against art history by supporters of the multi-sensoriality of embodied human experience is its alleged ocularcentrism, the implication of which is a detached autonomous subject. In this article, the sensory turn is defined and contextualized, particularly in light of the body of criticism targeted at art history’s emphasis on the visual. The proposed ways in which art historians might usefully deal with audience’s embodied experiences of not only immersive installation works of art, but also artworks in traditional media, such as painting and photography, are teased apart

Proces transpozicije u interaktivnoj instalaciji:„Samoodrživi sistem apsurda“

Cilj doktorskog umetničkog projekta „Proces transpozicije u interaktivnoj instalaciji Samoodrživi sistem apsurda“ je analiza unutrašnje strukture i procesa hibridne instalacije Samoodrživi sistem apsurda i ispitivanje relacija sa društveno političkim okruženjem. Osnovna teza rada je da struktura i procesi Samoodrživog sistema apsurda vrše kontinuiranu transpoziciju postojećih i stvaranje novih informacija. Informacije se menjaju i nastaju na dva osnovna nivoa: unutrašnjem nivou komunikacije – između elemenata instalacije i na spoljašnjem nivou – instalacija/okruženje/posmatrač. Druga teza je da pri kontinuiranom stvaranju novih informacija, tehno-biološka instalacija Samoodrživi sistem apsurda prelazi u stanje veće neuređenosti, dolazi do porasta entropije i na taj način instalacija postaje haotični, autonomno-interaktivni sistem. Treća teza je da Samoodrživi sistem apsurda predlaže otvoreni (umetnički) sistem, za proizvodnju i obradu informacija i da postavlja kontra-tezu (kontra4 konstrukciju) neumetničkim (socio-političkim, komercijalnim, potrošačkim) zatvorenim sistemima. Metodološki, u radu se navode reference iz istorije umetnosti, filozofije, teorije i prakse novih medija: kratak pregled istorije umetničkih instalacija; relacija sa prirodnim naukama – veza Samoodrživog sistema apsurda i teorije haosa preko uticaja interaktivnosti na menjanje i nestajanje postojećih informacija kao i kreiranje novih podataka; odnos zatvorenih i otvorenih sistema, konstrukcija moći; odnos Samoodrživog sistema apsurda i socio-političkog okruženja kroz relacije: pojedinac-društvo, prirodatehnologija, nauka-umetnost; upoređuju se recentne i istorijske umetničke prakse eksperimenta u novim medijima; posmatra se proces komunikacije preko interfejsa čovek–tehnologija–priroda; izvode se umetnički eksperimenti iz oblasti tehno-bio-art-a; Samoodrživi sistem apsurda se komparativno pozicionira u sistemu savremene umetnosti. Rezultati istraživanja su potencijalno primenljivi u savremenoj teoriji i praksi novih medija, preko uspostavljanja aktivnije saradnje unutar interdisciplinarnih oblasti, prenošenja iskustava u nastavno-obrazovnom procesu i realizacije interdisciplinarnih projekata.The objective of the doctoral art project "Transposition Process in Interactive Installation Self- Sustaining System of Absurdity" is the analysis of the internal structure and processes of hybrid installation Self-Sustaining System of Absurdity and establishing relations with the social and political environment. The basic thesis is that the structure and processes of the Self-Sustaining System of Absurdity are continuously transposing existing and generating new information. Information changes and creates at two basic levels: internal communication level – between installation elements and the external level – installation / environment / observer. The second thesis is that in the continuous creation of new information, the techno-biological installation Self-Sustaining System of Absurdity goes into a state of greater disorder, entropy enters and thus the installation becomes a chaotic, autonomousinteractive system. The third thesis is that the Self-Sustaining System of Absurdity proposes an open (artistic) system, to produce and process information, and to sets counterthesis (counter-construction) to non-artistic (sociopolitical, commercial, consumer) closed systems. Methodologically, the paper presents references from the history of art, philosophy, theory and practice of new media: a brief overview of the history of art installations; relation with natural sciences – connection of the Self-Sustaining System of Absurdity and chaos theory through the influence of interactivity on changing and disappearing of existing information as well as creating new data; the relationship of closed and open systems, the construction of power; the relationship of the Self-Sustaining System of Absurdity and socio-political environment is analyzed through relations: individual-society, nature-technology, science-art; the recent and historical artistic practices of the experiment in the new media are compared; the process of communication through the humantechnology- nature interface is observed; art experiments in the field of techno-bio-art are performed; the Self-Sustaining System of Absurdity is comparatively positioned in the system of contemporary art. The results of the research are potentially applicable in contemporary theory and practice of new media, through the establishment of more active cooperation within interdisciplinary areas, transferring experiences in the teaching process and realization of interdisciplinary projects

Twinstallation: An interactive video installation

Twinstallation is a series of loosely knit discussions about how being a twin has affected my life and my twin sister Meredith’s life. The user’s physical movements dictate the flow of the videos through an algorithmic structure, thus creating an opportunity for an embodied experience of the story. I draw on Freud’s concept of the “uncanny” to engage with the affective dimensions of twinning. I include Lev Manovich’s framework for viewing interactive media to understand the psychological connections users make when viewing new media work. I suggest that, by combining interactivity in non-linear storytelling and the act of participating in an installation, the user’s experience may be enhanced and they may experience a greater sense of agency