As new technologies and paradigms emerge, new ways of activating audiences are tested, ‘structuring radically new possibilities of feedback between spectators and the environments they could inhabit’.
(Salter 2010: 304)
In response to the common history of human-computer relationships in interactive art, Peter Salter, in his text Entangled; Technology and the Transformation of Performance, talks about interaction in physical and social space that involves a multitude of untrained performers and ultimately changes the emphasis from computer-human to inhabitant-performer-environment.
(Salter 2010: 306)
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