2026-09-23T02:08:34Zhttps://mro.massey.ac.nz/server/oai/requestoai:mro.massey.ac.nz:10179/23732025-11-11T14:22:29Zcom_10179_294col_10179_296
DSpace at Massey University
author
Bennewith, Christopher David
author
Bennewith, Christopher David
2011-05-19T23:01:47Z
2011-05-19T23:01:47Z
2011
http://hdl.handle.net/10179/2373
Q112885681
https://www.wikidata.org/wiki/Q112885681
When
an
artistic
or
aesthetic
experience
no
longer
relies
on
an
audience
to
“passively”
consume
it,
but
rather
entices
the
viewer
to
become
an
active
participant
in
the
artwork,
how
is
the
perception
of
the
work
and,
subsequently,
the
audience
affected?
How
does
the
audience
encounter
and
make
meaningful
these
types
of
experience?
Squidsoup
have,
for
the
past
10
years,
been
exploring
these
questions
through
their
practice--based
research.
Their
interactive
artworks
engage
the
audience
as
part
of
a
sociotechnical
network,
as
both
a
component
of
the
overall
aesthetic
experience
and
as
a
catalyst
for
compositional
change
within
the
artwork.
In
our
everyday
lives
we
experience
the
world
as
a
physical
and
social
space.
In
order
to
elicit
the
greatest
action
and
interaction
from
an
audience
Squidsoup
attempt
to
make
the
intangible
tangible,
and
create
works
where
social
interaction
between
the
participants
is
encouraged.
As
computing
becomes
more
ubiquitous,
moves
away
from
the
desktop
and
starts
to
occupy
the
“physical”
spaces
around
us,
the
ways
in
which
people
engage
with
technology,
and
each
other,
will
change.
Squidsoup’s
most
recent
work
–
Ocean
of
Light:
Surface
–
seeks
to
explore
the
interrelationship
between
people,
technology
and
space
and
how
this
could
manifest
as
a
potential
aesthetic
experience.
Ocean
of
Light:
Surface
looks
to
bring
digital
interactive
artworks
into
the
physical
and
spatial
realm
of
the
audience
in
order
to
explore
the
effect
this
has
on
the
way
they
interact
with,
and
consequently
understand,
the
work.
This
research
will
draw
on
my
current
and
previous
practice
as
part
of
Squidsoup
and
locate
it
within
a
wider
historic,
artistic
and
theoretical
context.
The
thesis
will
detail
the
development
of
the
concepts
underpinning
our
artistic
practice
by
relating
case
study
examples
to
historic
and
contemporary
art
practice
and
relevant
theoretical
literature.
Ocean
of
Light:
Surface
will
be
the
physical
and
practical
manifestation
of
this
research
embodied
within
an
artwork.
The Author
Audience participation
Interactive art
Art installations
Aesthetically potent environments : an exploration of technology, meaning and embodied interaction : a thesis presented in partial fulfillment of the requirements for the postgraduate degree of Master of Fine Arts at Massey University, Wellington campus, New Zealand
Thesis
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