Real Eyes was inspired by the opportunity of invoking a conversation with the audience to understand how they feel when viewed by society. Our current idea is inspired by surveillance, an important discussion that needs to be addressed. It is known that the government uses surveillance to collect data on people. But this is private information, so we will never know what the data is. Humans are naturally curious, so the motivation of our installation makes personal surveillance available to the participants. The concept of our work is the unseen and surveillance, the act of being monitored with no control over it. Personal discovery is shown by paying attention to ourselves and the audience. Because this concept is based on self-discovery and awareness, without interaction, it would have been impossible to frame this self-experience.
INTERACTIVE STRATEGIES
PRIMARY STRATEGY
Our installation is inspired by Dieter Daniel’s third Strategy of Interactivity, “Interaction through body interfaces”, shown by recording the body movement of our visitors. Without using the internet, we soften all dependent relationships. Daniels says with the exposure of mass media “Art on the Internet thus faces the dilemma of addressing everybody by its medium, but nobody by its context” (p. 10).
SECONDARY STRATEGY
Our installation is also inspired by Dieter Daniel’s sixth Strategy of Interactivity, “the exemplary viewer”, where the visitor takes on a new role, “not just the spectator but also preformer” (p.7). In certain examples the preformer does not know they are a preformer and activly making art. When this strategy of interactivity is applied to interactive art thier is no art without the spectator therefor making them essential to the process. Our approach to developing interactivity in our art work is thruogh eye movements and not show casing our participants full body, they may not realize initially that it is only a part of their body.
ART HISTORY
CUBISM
In Cubism, artists used multiple vantage points to fracture a 3D subject into 2D geometric forms and figures are depicted as dynamic arrangements of volumes and planes where background and foreground are merged. Our artwork focuses on projecting our eyes, a three-dimensional subject, onto a screen, a two-dimensional platform. For our background, the eyes are conformed within rectangular windows as the foreground, which is a livestream of the person’s movements, are blended on top.
SURREALISM
Surrealism refers to the goal of the artist revolutionizing the human experience through the unconscious mind. Our artwork does so by constantly repeating the viewer’s and past participant’s eyes all over the screen, creating a dream-like piece that causes the participant to experience a new sensation.
Pablo Picasso. Girl With A Mandolin, 1910.
René Magritte. The Double Secret, 1927.
ART APPROACH AND INSPIRATIONS
Regressive and Reflexive Mashups in Sampling Culture
By Eduardo Navas
Regenerative remixes allow for ideas and concepts to be communicated with the new media environment.
By Eduardo Navas
Regenerative remixes allow for ideas and concepts to be communicated with the new media environment.
An Introduction to
Community Arts & Activism
By Jan Cohen-Cruz
Discusses the social issue of surveillance; people are watching and being watched.
By Jan Cohen-Cruz
Discusses the social issue of surveillance; people are watching and being watched.
Telematics: Conjoining Remote Performance Spaces
By Steve Dixon
Telematics allows the artist to take sections of the body and portray them in the artwork.
By Steve Dixon
Telematics allows the artist to take sections of the body and portray them in the artwork.