Abstract
This is a self-reflective and critical approach to inquiry that attempts to “lay bare” the motivations, strengths and weaknesses of the artist as well as the artwork in order to gain a better understanding of the complex set of influences and decisions that result in a digital media artwork. This paper examines the impact of technology on the artwork and identifies a number of key issues related to the function of critical reflection in this environment. Rules-of-play were a fundamental pre-requisite to the stimulation of critically reflective experience. The human interface with software and hardware was also a primary factor in reflective experience. Those
with experience in visual art were more likely to engage the work in a critically reflective manner than seasoned video game players who tended to be more interested in scoring and winning. These findings and others inform our understanding of the stimulation of critical reflection in immersive environments and show how we can sensitively integrate technology with meaningful evaluative methods. This research enables artists to gain a better understanding of the medium to more fully integrate technology within a meaningful practice. Conversely, other fields will benefit from a better understanding of the stimulation of meaning in immersive spaces and gain a comprehensive view of a work that strives to contribute to our culture on a deeper level than as simple entertainment.
References
- Arthur Coleman Danto, The Abuse of Beauty: Aesthetics and the Concept of Art, Paul Carus Lectures; 21st Ser. (Chicago: Open Court, 2003).
- Hal Foster, "Introduction." in The Anti-Aesthetic: Essays on Postmodern Culture (Port Townsend, WA: Bay Press, 1983) p. x.
- Hal Foster, "Chat Rooms, 2004." in C. Bishop, ed., Participation (London: Whitechapel, 2006) pp. 190-195.
- Jennifer B. Gray, "Althusser, Ideology, and Theoretical Foundations: Theory and Communication." The Journal of New Media and Culture 3, No. 1 (2005).
- Mark B. N. Hansen, "Introduction." in New Philosophy for New Media (Cambridge, MA: MIT Press, 2004) pp. 12-13.
- Rosalind E. Krauss, "Reinventing the Medium." Critical Inquiry 25, No. 2, (1999) pp. 289-305.
- Steve Dietz, "Ten Dreams of Technology." Leonardo 35, No. 5 (2002) pp. 509-522.
- Tim Lenoir, "Haptic Vision: Computation, Media, and Embodiment in Mark Hansen's
- New Phenomenology." in New Philosophy for New Media (Cambridge, MA: MIT Press, 2004) p. xx.
- Theodor W. Adorno, "Society." in G. Adorno and R. Tiedemann, eds., Aesthetic Theory
- (Minneapolis, MN: University of Minnesota Press, 1997) p. 252.
- Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduction." in H. Arendt, ed., Illuminations (New York: Schocken Books, 1968) pp. 217-251.
