Browse > Article
http://dx.doi.org/10.15207/JKCS.2021.12.11.169

Human Sense-Based Simulation-Experience Model for Interactive Art Production  

Liu, Ting-Ting (The Graduate School of Advanced Imaging Science, Multimedia & Film, Chung-Ang University)
Lim, Young-Hoon (The Graduate School of Advanced Imaging Science, Multimedia & Film, Chung-Ang University)
Paik, Joon-Ki (The Graduate School of Advanced Imaging Science, Multimedia & Film, Chung-Ang University)
Publication Information
Journal of the Korea Convergence Society / v.12, no.11, 2021 , pp. 169-184 More about this Journal
Abstract
Recent advances in science and technology leveraged various artistic tools. Interactive art based on various media technologies became popular in a short period, and is widely appreciated as a new form of art. This new form of art has a different method of expression from traditional art such as painting or sculpture. It aims to strike a balance among the artist, audience, and piece of art through interaction between the work and viewers. Viewers can take part in the creation process, going beyond the conventional way of art appreciation. This paper analyzes interactive art production techniques based on human senses from the artist's perspective. "Simulation-experience model" will be suggested after looking at several example artworks. Charming, which was produced based on this model, will be introduced and its meaning will be analyzed. The objective of this paper is to predict the future of interactive art and changes in the art form by studying interactive art production techniques based on human senses. We believe that the prediction is helpful in understanding the artistic and technological value and the social influence of interactive art in the future.
Keywords
Simulation-experience model; Interactive art; Human senses; Media art; Communication;
Citations & Related Records
연도 인용수 순위
  • Reference
1 E. Edmods. (2018). The Art of Interaction: What HCI Can Learn From Interactive Art. Synthesis Lectures on Human-Centered Informatics. 11(1), i-73. DOI : 10.2200/S00825ED1V01Y201802HCI038   DOI
2 H. Y. Lee, J. Y. Kim & W. H. Lee. (2013). Interactive digital art using sensor technology. Science and Engineering Research Support Society, 39, 94-98. DOI : 10.14257/astl.2013.39.18   DOI
3 E. Sosnowska. (2015). Digital Sensing: The Multisensory Qualities of Japanese Interactive Art. xCoAx 2015: Proceedings of the Third Conference on Computation, Communication, Aesthetics and X. pp.64-78). Porto: Universidade do Porto. ISBN: 9789897460661
4 C. Paul. (2003). Digital art. London: Thames & Hudson. ISBN: 9780500203675
5 C. Heeter. (2000). Interactivity in the context of designed experiences. Journal of Interactive Advertising, 1(1), 3-14. DOI : 10.1080/15252019.2000.10722040   DOI
6 Y. Pu & Y. Jiang. (2019). The Development of Interactive Art from the Perspective of Interaction Language and Form. Journal of Beijing Film Academy,148(04), 120-128. DOI : CNKI:SUN:BDYX.0.2019-04-019
7 Cuppetelli and Mendoza. (2016). Innterference4[2016]. https://www.cuppetellimendoza.com/interference-4/
8 J. Soler-Adillon. (2015). The intangible material of interactive art: agency, behavior and emergence. Artnodes: revista de arte, ciencia y tecnologia, (16), 43-52. DOI : 10.7238/a.v0i16.2744   DOI
9 Y. Quan && C. Wang. (2007). New audio-visual of interactive art. Beijing: China Light Industry Press. ISBN: 9787501957132
10 K. Cham. (2009). Aesthetics and interactive art. Digital visual culture: Theory and practice, 3, 15-21.
11 A. Gor. (2019). Reimagining the Iconic in New Media Art: Mobile Digital Screens and Chora as Interactive Space. Theory, Culture & Society, 36(7-8), 109-133. DOI : 10.1177/0263276419836481   DOI
12 R. Kelomees. (2019). Reversing the spectator paradigm: symbiotic interaction and the 'gaze' of the artwork". Digital Creativity, 30(3), 143-160. DOI : 10.1080/14626268.2019.1656256   DOI
13 N. Mendoza (2019). Robotic voice-activated word-kicking machine. ACM SIGGRAPH 2019 Art Gallery, New York: Association for Computing Machinery, (27). DOI : 10.1145/3306211.3324032   DOI
14 teamLab. (2016). Forest of Resonating Lamps - One Stroke, Fire. https://www.teamlab.art/ew/forest_of_resonating_lamps_fire_shanghai/
15 D. Brewster. (1858). The Kaleidoscope: Its History, Theory, and Construction with its Application to the Fine and Useful Arts (2 ed.). J. Murray.
16 C. O. Wong, K. Jung & J. Yoon. (2009). Interactive Art: The Art That Communicates. Leonardo, 42(2), 180-181. DOI : 10.1162/leon.2009.42.2.180   DOI
17 E. Edmonds, D. Everitt, M. Macaulay & G. Turner. (2004). On physiological computing with an application in interactive art. Interacting with Computers, 16(5), 897-915. DOI : 10.1016/j.intcom.2004.08.003   DOI
18 H. Y. Lee, J. Y. Kim & W. H. Lee. (2013). Interactive Digital Art using Sensor Technology. Computer Science, 39, 94-98. DOI : 10.14257/astl.2013.39.18   DOI
19 F. Popper (2007). From Technological to Virtual Art. Cambridge, MA: MIT Press. P.77. ISBN: 9780262162302
20 L. Muller & E. A. Edmonds. (2006). Living Laboratories: Making and Curating Interactive Art. SIGGRAPH Art Gallery. 160-163. DOI : 10.1145/1178977.1179120   DOI
21 M. L. Heilig. Sensorama simulator, u.s.patent no.3050870, August 1962.
22 H. C. Kim & C. Jung. (2016). The Designing and Realization of Digital Interactive Media Art based on Activity Theory. International Journal of Multimedia and Ubiquitous Engineering, 11(8), 271-278. DOI : 10.14257/ijmue.2016.11.8.28   DOI
23 J. M. Wolfe, K. R. Kluender & D. M. Levi (2012). Sensation & perception (3rd ed.). Sinauer Associates. DOI : 10.1086/668158
24 Daniel Rozin. (2005). Wooden Mirror-1999. http://www.smoothware.com/danny/woodenmirror.html
25 Caitlind & Wayne. (2012). Cloud. https://incandescentcloud.com/aboutcloud/