Christa Sommerer Laurent Mignonneau: Interactive Art by Gerfried Stocker, Christa Sommerer, Laurent Mignonneau

By Gerfried Stocker, Christa Sommerer, Laurent Mignonneau

Christa Sommerer and Laurent Mignonneau are of the main cutting edge and the world over popular media artists and researchers. Their paintings has been referred to as "epoch-making" (Toshiharu Itoh, NTT-ICC Museum, Tokyo) for constructing usual and intuitive interfaces and for utilizing clinical ideas similar to synthetic lifestyles, complexity, generative platforms and nanotechnologies to their leading edge interface design.

This monograph represents a complete evaluate of Sommerer and Mignonneau s paintings and examine. as well as offering particular undertaking descriptions of every interactive paintings, it contains essays and articles by way of hugely well-known media students and theoreticians who deliver the interactive artistic endeavors of Sommerer and Mignonneau in an artwork and media paintings background perspective.

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The amount of growth on the screens depends on the degree of interaction of the participants; the more interaction there is, the fuller and better the imagery. This created a positive feedback as other passersby would become curious and were also attracted to participate. When there is no interaction the previously generated plants slowly faded toward the background of the screens. They left traces and shadows suggesting that there had been some interaction. After observing the participants for several days, we could conclude that the goal to attract public attention was successfully achieved.

The vertices represent the objective (measurable) and perceived complexities of a given piece of art, be it a painting, symphony or play. The “objective complexity” is a measure of how complex the object is in itself, which is essentially a syntactic notion. “Perceived complexity” is the complexity seen by an observer of the artistic structure. Finally, “societal value” is some measure of how important the artistic form is, either to the community of specialists or to society as a whole. A crucial component of this project was to create meaningful – and workable – definitions of complexity for each of these three notions for different types of artistic structures and to investigate the interrelations among them.

Sakane, The Interaction ’97, Toward the Expansion of Media Art (Gifu: Gifu Prefecture Government, 1997), 10–15. 6 I. Sakane, The Interaction ’99, Expanding the Human Interface (Gifu: World Forum for Media and Culture Committee, IAMAS, 1999), 12–19. 7 I. Sakane, The Interaction ’01, Dialogue with Expanded Images (Gifu: World Forum for Media and Culture Committee, IAMAS, 2001), 11–15. Between the end of the 1970s and 2003, I have personally had the opportunity to organize many exhibitions. When I organized The Museum of Fun exhibition I1 and II2 for the Asahi Shimbun in 1979 and 1984, I invited some of the early forms of interactive art like Ed Tannenbaum’s Recollection, Wen Ying Tsai’s Cybernetic Sculpture, etc.

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