Critical Reflection in a Digital Media Artwork PDF
Preview Critical Reflection in a Digital Media Artwork
CRITICAL REFLECTION IN A DIGITAL MEDIA ARTWORK - PLAYAS: HOMELAND MIRAGE A Dissertation by JACK ERIC STENNER Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Major Subject: Architecture CRITICAL REFLECTION IN A DIGITAL MEDIA ARTWORK - PLAYAS: HOMELAND MIRAGE A Dissertation by JACK ERIC STENNER Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Co-Chairs of Committee, Carol LaFayette Andruid Kerne Committee Members, Karen Hillier Frances Downing Head of Department, Mark J. Clayton August 2007 Major Subject: Architecture iii ABSTRACT Critical Reflection in a Digital Media Artwork - Playas: Homeland Mirage. (August 2007) Jack Eric Stenner, B.E.D.; M.S., Texas A&M University Co-chairs of Advisory Committee: Prof. Carol LaFayette, MFA Dr. Andruid Kerne The introduction of digital media into the working practice of artists has produced challenges previously unknown to the field of art. This inquiry follows an atypical model of artist-driven research derived from disciplines such as social science and education. Here, an artwork functions as a model that is self-reflective, integrating methodologies in a form that benefits art and science. Using Naturalistic Inquiry, including semi-structured interviews of fifteen participants, the work illustrates a process of creation, analysis and evaluation that places the values of the artist on equal footing with the needs of science. Recently, artists have begun using video game engines as a tool to produce 3D navigable spaces. Using the hybrid video game/installation Playas: Homeland Mirage as a case study, this research examines the impact of technology on the artwork and identifies a number of key issues related to the function of critical reflection in this environment. Rules-of-play were a fundamental pre-requisite to the stimulation of critically reflective experience. The human interface with software and hardware was also a primary factor in reflective experience. Based on participant evaluation and observation, the interface was altered in response to its effect on critical reflection, iv illustrating how choices in this area impact aesthetic experience. Those with experience in visual art were more likely to engage the work in a critically reflective manner than seasoned video game players who tended to be more interested in scoring and winning. These findings and others inform our understanding of the stimulation of critical reflection in immersive environments and show how we can sensitively integrate technology with meaningful evaluative methods. By repurposing a video game in this manner, we learn about the nature of the video game and the nature of art. This research enables artists to gain a better understanding of the medium to more fully integrate technology within a meaningful practice. Conversely, other fields will benefit from a better understanding of the stimulation of meaning in immersive spaces and gain a comprehensive view of a work that strives to contribute to our culture on a deeper level than as simple entertainment. Ultimately, more fully understanding critical reflection in virtual environments will enable us to create enriched experiences that transcend space to create “real” or “virtual” place. v To my wife Stephanie and daughter Sydney who put up with me living in front of the computer all this time. vi ACKNOWLEDGMENTS Without Carol LaFayette, I would never have survived Bryan/College Station. She was one of the few who “got it” and understood why art is important, the complexity of its dialogue, why it is worth studying, and how one might go about integrating art and science. In a similar manner, Andruid Kerne recognizes how both are inevitably intertwined and beneficial to each other and provided the kind of theoretically grounded, technologically astute, creative stimulus that was sorely lacking before his arrival. Without his encouragement to fully develop Playas into an interactive installation and to submit it to ACM Multimedia 2005, the project would have died. I would also like to thank Karen Hillier for her gracious support for me, as well as my family, over the last several years. She has been the constant that has helped me maintain a sense of continuity from my earliest interests in space and form over twenty years ago to now. Thanks also to Frances Downing. I wish I had met her sooner and had been able to work more closely with her. Her thoughts on place and metaphor were groundbreaking for me, as was her instruction on research methodologies. Without her guidance I would never have been introduced to Yvonna Lincoln and Naturalistic Inquiry. While time and other distractions have not allowed me to take full advantage of the wealth of knowledge embodied by my committee, I can’t imagine a better group of people with whom to work. Their inspiration and knowledge will be of benefit for the remainder of my life. I would also like to thank Steve Rowell of the Center for Land Use Interpretation. I would not have known about Playas, New Mexico without his introduction. His visit to vii Texas A&M in Spring 2005 was a fortuitous event that has changed my life. CLUI is a testament to the viral nature of art. It illustrates that meaning is embodied in the world, and that by sharing ideas art can branch into territories never anticipated. Last, but certainly not least, I would also like to thank Yauger Williams. His energy was infectious, and his graciousness in allowing the Playas project to commandeer a semester of his class was invaluable. Without this contribution and those of the Visual Studies 305 and 405 students in the production of the work, this dissertation would not have been possible. viii TABLE OF CONTENTS Page ABSTRACT....................................................................................................... iii DEDICATION.................................................................................................... v ACKNOWLEDGMENTS................................................................................... vi TABLE OF CONTENTS.................................................................................... viii LIST OF FIGURES............................................................................................ x CHAPTER I SELF-REFLECTION AND THE CRITICAL IMPERATIVE.............. 1 Introduction................................................................................. 1 Context........................................................................................ 5 Personal Context................................................................. 6 Art-Historical Context......................................................... 10 Socio-Cultural Context........................................................ 24 Current Practice.................................................................. 34 Scientific Methodology and Art Evaluation.................................. 61 Science + Art...................................................................... 62 Transvergence..................................................................... 72 The Ecosystems Approach.................................................. 75 Playas as a Work of Art and Model of Research........................... 79 Genesis............................................................................... 79 Installation Description....................................................... 83 II AESTHETIC EXPERIENCE AND CRITICAL REFLECTION........... 86 Introduction................................................................................. 86 A Brief History of Art and Virtuality................................... 87 The Aesthetic Experience............................................................ 92 Six Dialogs of Experience and Value........................................... 97 Aura.................................................................................... 97 Objecthood.......................................................................... 102 Significant Form................................................................. 104 Dialogism........................................................................... 109 ix CHAPTER Page Remediation........................................................................ 118 Ontological Authenticity..................................................... 121 Reflection and Immersion............................................................ 122 Critical Reflection............................................................... 122 Critical Distance.................................................................. 134 Immersion and Mimesis...................................................... 137 Distraction.......................................................................... 141 Gaming as a Critical Aesthetic Experience................................... 146 Introduction........................................................................ 146 Contributory Forms............................................................. 147 Support Structures............................................................... 152 Content....................................................................... 152 Authorial Control....................................................... 153 Communicability........................................................ 153 Embodiment............................................................... 153 Prior Work................................................................................... 154 III ANALYSIS OF THE PLAYAS CASE STUDY................................... 166 Introduction................................................................................. 166 Architecture................................................................................. 166 The Video Game................................................................. 167 The Installation................................................................... 176 Conceptualization........................................................................ 179 Artistic Concept.................................................................. 180 Research Concept................................................................ 183 Content........................................................................................ 188 Spring A.I.R........................................................................ 189 ACM Multimedia 2005....................................................... 191 ISEA2006/ZeroOne............................................................ 196 Evaluation................................................................................... 205 Methodology....................................................................... 208 Four Support Structures....................................................... 211 Previous Experience............................................................ 217 General Response................................................................ 220 Specific Response............................................................... 230 Pattern Identification........................................................... 236 Sense of Immersion............................................................. 237 Sense of Control.................................................................. 244 Relationships....................................................................... 248 x CHAPTER Page Summary of Results..................................................................... 253 Significant Findings............................................................ 253 Future Work........................................................................ 261 IV CONCLUSION.................................................................................... 264 REFERENCES AND NOTES............................................................................ 267 APPENDIX A.................................................................................................... 283 VITA.................................................................................................................. 284
Description:The list of books you might like
