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17 1 the same time.1 Such a comparison is not coincidental and signals the reconfiguration of space and time. magazine/archive/1992/03/ jihad-vs-mcworld/303882/. The article was later adapted into Another key aspect of computability revealed by participatory a book with the same title (New and interactive artworks is the consideration of response as York: Random House, Inc., 1995).

a medium. Myron W. Krueger already wrote about this in 2 http://thedigitalage.pbworks. com/w/page/22039083/Myron %20Krueger/.

the early 1970s; the response to a digital work differs very much from that to a painting.2 You can of course argue that any artwork is ‘interactive’, in the sense that it involves a mental activity, but in the case of participatory digital work interactivity becomes a truism. Response here refers to an act through which the viewer, user, or participant changes the work. A connection can be made to some performance art or Happenings in which participants can also change the artwork. The frameworks in performance vary, but often there is a limit to what you can do. These limitations also exist in some digital artworks, or games, where you select elements from a preconfigured database that may branch in different directions. More open projects take you to the point where you can completely reconfigure the artwork. So response varies a lot. It is a highly complex system that deserves further analysis within the parameters of every artwork.

When you talk about changes in the notion of aesthetics, to what do you exactly refer? While looking into aesthetics and notions of aesthetics related to the computer for the conference in December, I discovered that the Wikipedia entry on aesthetics, apart

3 Aesthetics/.

from building on Kantian and Hegelian theories, also has a section ‘Aesthetics and information’, which considers computer algorithms in relation to aesthetics.3 Over the years, the notion that beauty is not the only criterion for assessing aesthetics has been gaining ground, and I think there now is an interesting shift to understanding computability and the generativity of code in terms of aesthetics. For the first time in the history of art we see a more profound disconnect between the back-end of a work and the materiality of its front-end. When moving close enough to a painting you can see brush strokes. Photography, film, and video introduced

Speculative Scenarios — Edited by Annet Dekker  

There is a growing understanding of the use of technological tools for dissemination or mediation in the museum, but artistic experiences th...