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|Title: ||Digital Kinesthesia: Kinesthetic modes of media aesthetics in digital art|
|Authors: ||Gsöllpointner, Katharina|
|Keywords: ||Digital art|
|Issue Date: ||18-Oct-2017 |
|Abstract: ||By the example of 15 interactive, responsive, immersive, augmented, and dynamic digital art installations which have been produced in the course of the transdisciplinary, arts-based research project „Digital Synesthesia“ I will show how kinesthetic features in the media aesthetics of digital artworks allow for cross- and multimodal sensory experiences in the user/spectator.
I claim, that (artistic) digital media like e.g. video, image or sound not only provide sensory experiences within their primary sensory modality but each consist of multimodal sensory features which are „integrated“ by the kinesthetic sensory domain. This is true no matter if we observe dynamic or static artifacts. This assumption is supported by a number of neuroscience findings which say that perception per se is basically built on the physical and mental ability to move.
Moreover, the kinesthetic sense not only integrates the other senses, but it also incorporates semantic concepts like time and space, as well as what has been called the “sense of empathy”. This has been shown in recent research on synesthetic perception and will be an important part of my presentation.
I claim that the cross- and multimodal integration through the kinesthetic sense happens by means of the media aesthetics of, for instance, an artwork. The digital technologies here play a fundamental role, due to their binary code constitution. The focus of my talk will be put on the question, how the cross-modal transfer of kinesthetic features from one sensory domain to another (e.g. vision to audio, audio to smell, taste to kinesthetics etc.) takes place in 15 above mentioned digital artworks.|
|Description: ||Biography: Katharina Gsöllpointner is a media art theoretician with a special focus on media
aesthetics and on the cybernetics of art. She has taught media and art studies at
international universities and currently works as a researcher at the Dept. of
Digital Art at the University of Applied Arts Vienna.
Since the 1990s Gsöllpointner has conceived, led and carried out a series of
inter- and transdisciplinary research projects on issues of media aesthetics and
media arts, e.g. ‘AESTHETIC KNOW-HOW. Language – Technology –
Media’ (2007 – 2009) or ‘Digital Synesthesia’ (2013 – 2016).
From 1991 to 1995 she was the manager of the Ars Electronica Festival in Linz
(w/ Peter Weibel).
Since the 1980s she has published extensively about media and digital art
history, media aesthetics and on the transdisciplinarity of art and sciences. In her
habilitation treatise Intermedia Production and Multimodal Perception. On the
Aesthetics of Digital Art (2015), she formulated a media theory of digital art as an
aesthetic model for the multimodality of perception.
|Appears in Collections:||1. Re:Trace Conference - Keynotes, Papers & Posters|
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