Chris O'Shea: Audience
Chris O'Shea: Beacon of Lightwave
Chris O'Shea Installation
I found O'Shea's work fascinating as I'd never seen anything like it, the juxtaposition between the playfulness to encourage the public to participate and the vast amount of precision and technology was a complex combination I'd never encountered before. It gave me a great insight into the excitement and playfulness needed with interactive art to make people actually have interest in participating.
Lucas, G. & Dorrian, M. (2006), Guerilla Advertising: Unconventional Brand Communications, London: Laurence King
This gave me a great insight into how to interest an audience, not all of these examples of advertising are interactive but they all capture the viewers attention which is essential in both advertisement and interactive art. I've learnt you have to think outside the box for this to work as the public eye will simply scan across things that are familiar or cliche but if you incorporate an object or image they do not see very often, especially something that requires their interaction then you have their attention.
Much like Chang if I want people to be personal and open with my interactive project I have to give them privacy, the public (especially the British public) will not be willing to give deep confessions on the spot in front of everyone, you have to give them time and space.
Marina Abramovic is somewhat the queen of performance art and as a great admire of this type of art I find her art fascinating and had to research it in the interactive project. She masterfully in most of her performances is static, silent and most importantly unintimidating so the public is willing to interact with her therefore If I was considering doing a performance for my piece I'd have to keep in mind that the public has to come to you, if you reverse the tables and become the observer than the participant is given so many more options and creates a far better performance.
The Artist is Present, 2010
Ono has done the same technique of remaining silent and unresponsive in her performance piece, creating a far more interesting interaction with the participant as they think they can do whatever they wish.
Guinness has used a ingenious technique here of incorporating an old familiar toy which the majority of the public have played with or seen in their childhood and probably enjoyed and brought it into the public for adults to experience and play with again. In my interactive project I really want to incorporate this amount of playfulness into my piece as it brings enjoyment to the participant and brings out their child like side which is often contained in everyday life.
Through looking at Ondak's installation it's taught me the need for simplicity in interactive art, a participant won't be willing to give up a lot of their time and energy for your piece, it is just not realistic. It is far better to keep the interaction simple and quick and get a majority of people to do it, like taking their measurements, it may sound simple but when incorporating a large amount of people the end result is overwhelming and meaningful.