Interacting: Art, research and the Creative Practitioner
Interacting: Art, research and the Creative Practitioner
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互动：艺术、研究和创意实践者
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发表时间：
2011
期刊：
影响因子：
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通讯作者：
L. Candy
中科院分区：
文献类型：
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作者：
E. Edmonds;L. Candy
我们生活在一个互动成为日常现象的时代。 “交互”一词用于表达人与人工制品甚至事件之间的多种相互作用，并已成为我们日常词汇的一部分。互动意味着一个双向过程，在这个过程中，我们期望给予和接受一种期望，这种期望对于我们一生中可能遇到的互动体验至关重要。数字技术为扩大多种互动（包括艺术品）的机会打开了大门。这是一扇敞开的门，因为一段时间以来，公众一直期望在画廊和博物馆，甚至街道上进行互动。这种期望有时接近于一种以过去的观众只能梦想的方式触摸、交谈或移动艺术作品的权利。 “请勿触摸”作为最接近艺术品的标志仍然可以在许多展览中找到，特别是因为具有历史意义的作品具有很高的价值，但尽管如此，博物馆参观者的世界已经发生了明显的变化。今天，我们经常被邀请以多种其他方式触摸、踩踏、书写或接触艺术品。参观画廊和博物馆的人们不再是“观众”，而是“观众”。那些以前被称为“观众”的人，通常是“参与者”。积极参与装置已不再陌生：事实上，人们对可能发生的事情有着完全不同的期望。 2010年10月，伦敦泰特现代美术馆被迫关闭艾未未作品《向日葵种子》的参观通道，因为人群与作品互动的热情产生了可能危害健康的灰尘。许多人感到愤怒。由于没有机会在涡轮大厅地板上安装的数以百万计的微型陶瓷葵花籽中奔跑、打滚和跳跃，空气中可以感受到一丝叛变的感觉。互动的权利受到阻碍。今年在布达佩斯，工党画廊的参观者遵循艺术家斯蒂芬·斯克里文纳的召唤，坐下来观看、触摸和重新排列物品，尽管没有被要求这样做，但有时也会将所有东西重新整齐地重新组合在一起。正如这件事和涡轮机大厅的事件所揭示的那样，互动可以引起截然不同的反应。
We live in an age when interacting is an everyday phenomenon. The word ‘interaction’ is used to express many kinds of interplay between people and artefacts, even events, and has become part of our daily vocabulary. Interaction implies a two-way process, in which we expect to give, as well as to receive, an expectation that is fundamental to the kinds of interactive experiences we are likely to encounter throughout our lives. Digital technology has opened the door to opportunities for expanding interaction of many kinds, including artworks. It is an open door because, for some time now, the public have had expectations of interactivity in galleries and museums and, indeed, in the street. That expectation sometimes borders on a sense of entitlement to touch, to speak to or move about art works in a manner which audiences of the past could only have dreamed of. “Please do not touch” as the nearest sign to an artwork can still be found in many exhibitions especially because of the high value placed on historically significant works, but, nevertheless, a perceptible change has taken place in the world of the museum visitor. Today we are often invited to touch, tread on, write on or make contact with the artwork in any number of other ways. People visiting galleries and museums are no longer 'viewers'; those formerly known as 'the audience', are often 'participants'. Taking an active part in an installation is no longer unfamiliar: indeed, people have entirely different expectations of what is possible. In October 2010, the Tate Modern in London was forced to close access to Ai Weiwei's Sunflower Seedsi because the enthusiasm of the crowd’s interaction with the work had produced dust potentially damaging to health. Many people were outraged. Denied the opportunity to run, roll about and jump through the installation of millions of tiny porcelain sunflower seeds on the floor of the Turbine Hall, a hint of mutiny could be felt in the airii. The right to interact was being thwarted. In Budapest this year, visitors to the Labor gallery obeyed the invocation by the artist Stephen Scrivener to sit, to view, to touch and rearrange objects, and, although not asked to do so, sometimes put everything neatly back together again. As this and the incidents in the Turbine Hall reveal, interacting can evoke very different kinds of responses.