Dr. Eugenia Fratzeskou

1.Interruptive site-specificity

Conceived in 1980, Rosalyn Deutsche’s definition of the two key types of site-specificity in art i.e. “assimilative” and “interruptive”, is more than pertinent today for attempting to ‘map’ the categories of site-specificity in art. As contrasted to “assimilative” site-specific art’s useful and decorative role, interruptive” site-specific art “intervenes” in the built spaces “so as to interrupt rather than secure, the seeming coherence and closure” of space.[1]

In an “interruptive” site-specific artwork, an artist may undermine the functionality and institutional status of a particular site through various ways e.g. challenging not only the functional form and uses of built architecture, but also, the digital and non-digital architectural processes and materials, exploring the contrast between architectural models and built architecture, etc. The article examines whether and how the definition of interruptive sitespecificity can be manifested and expanded in virtual-environment artworks. 인용해라

The importance of the technical linkage between a virtual environment and the physical world, and the automatic conversion of environmental data into digital displays are foregrounded here. In this case, the type of site-specificity of such a mixed-reality environment depends on how the artist explores locality, environmental conditions and user interactivity.

The site-specificity of certain artworks depends on artists’ ability to visualise new emerging relationships between a built space and its computer 3D modelling within a semi-immersive virtual environment. Indeed, as Penny observes, visualising the relationship of virtual and real spaces is a developing area in art that creates interactive virtual environments [7]. As Penny describes:
[a] ‘virtual space’ presents and is aligned point by point with the ‘real space’ except for certain digital phenomena [8].

Penny notes that a semi-immersive virtual environment is the suitable means of investigating the difference between virtual and real spaces.

5. Conclusion

Interruptive site-specificity is manifested and expanded in digital art in many ways, as artists are increasingly interested in creating various original types of site-specific interventions, essentially through visualising the relationship between reality and virtuality. The creation of mixed-realities has allowed an increasing level of creativity and freedom, as it enabled artists to surpass the limitations of the physical manipulation of spaces and the traditional modes of spectatorship. As we have seen, Krueger’s and Shaw’s works have provided influential cases of how artists may create a new dimension of site-specific intervention through ‘interrupting’ the ordinary reality.

These cases range from users’ spatial interaction with alternative realities, perceptual distortions of built space, unexpected visual ‘insertions’ of virtuality and heterogeneous space-times through interactive visual mapping and mixed-reality layering. Most importantly, the relationship between virtuality and reality is not only a technical but also, a conceptual and creative challenge. The impact of such developments can be traced in various fields of contemporary art and design, such as, audiovisual installations, interactive video art, 3D projection􀀀based public art,mixed and augmented reality art and others.


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