Sculptures of Spring '08

Emily Bzdyk

Project 2- Kinetics and Interactiviy
ANALYSIS

Work that foregrounds interactivity integrates some role of the audience or other outside force into the work. This kind of work would be meaningless in a setting without interactive forces such as viewer or other kinetic activators, whereas it could be argued that other non-interactive works can stand alone without feedback or any kind of contact with the art world. Interactive work thrives on an element which is provided by interface with outside forces. This element can be action, or acknowledgment, or maybe some kind of interpretation that in turn reflects the meaning of the work back at the viewer like a mirror. The most important thing in this kind of work is that there is change, reflection, and movement which is dependent on something outside of the work itself.

There can be audience interactive works, where viewers simply activate some portion of the work, or bring something to it like missing puzzle piece. They might act in some way to create greater action in the work. For example, if there is some kind of kinetic work, a viewer might come and push a button or lever and this would result in some counter action. They might be driven to complete some part of the work, by bringing a physical component, or object. This addition to the collective might create a unified, more complete message. I have seen piles of rocks or which people see and recreate, or even bring a rock from their region to add to a great pile, like what happens near Walden pond in New England. This kind of ritualized response can be harnessed by an artist to motivate the audience into action. The audience’s physical presence might also act to create some kind of response in a work. This is like the shadow puppets, where the audience’s presence adds an additional shadow. There merely being there enriches and brings complexity to the work.

The addition and response of the audience might be much more abstract, too. Instead of bringing a physical object, their presence or reaction to a work might be the critical element. Audience in performance art may unwittingly be part of the work, or the reactions and actions of the audience might reveal the larger theme or message.
Not all interactive work needs people. There are other things in the world that are capable of interaction, whether they are intentional or not. Inanimate objects can be made to twirl or gyrate with the wind, and the elements of weather can erode or change an outdoor sculpture. The role of interactivity in these works is a little less defined, because sometimes interaction is merely a byproduct of location. But there are defiantly outdoor earthworks or land art which depend on the seasonal, or climate, or even daily changes to affect the work in some way. Water and wind constantly move and cycle the globe, creating change and life. The sun is the ultimate source of all the action and life on our globe, and the cycles of the earth all can be harnessed to connect with an artwork and change or interact with it.

The bottom line is that the presence of the audience means the work is being seen. The work is connecting with the world. But this does not mean all visible art works are interactive. I think that the line is drawn when the success of a work is dependant on interaction with other elements of our world. Be it a wind powered kinetic sculpture, or a performance piece dependant on the responses from a passerby, interactive work is not complete until an outside component is introduced to it and completes the thought.