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Nicole Pawlowski |
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The sculptural installations and performances with interactive body objects are conceived as audiovisual models of perception in which always anew the creating of interactions between audible and visible phenomena in space and real-time is thematized. Under the experimental application of varied electronic media and organic materials sculptures and body objects for performances are created. These works function as three-dimensional visual space notations and they generate the physical basic conditions for "indetermined (result-open) acoustic space compositions". The challenge of the interactive works is, to understand the artistic form as an open interactive process in the here and now – in which the acoustic result is unpredetermined and not reproducible, since it originates in part under the influence of essential uncontrollable factors in real-time. The artistic form I understand as consequence of practiced philosophy – in dealing with the space, the time and the the artistic material. A model for the creation paradigms for interactive installations and performances are to me the impacts of the nature and the philosophy of Zen. In the works the usage of interactive technology has the function of decentralising the task of controlling, composing and shape forming of sound and image and of transferring it, so far as possible, in space and real-time to all involved actors, recipients, environmental impacts and to other variable factors and different places in space. |
The strategy of "interactive work in process" is a conception which dissociates itself from the
classical, object-oriented and deterministic concept of the artwork.
The classical subject-object relationship of artist and artwork is a centrally organised form of work
which is opened in the interactive art in favour of decentrally organised art. In the interactive works there is no hierarchy and no ruling centre, each of the involved
factors forms an equivalent forming centre. In the interactive genesis process of a work, characteristics of an own internal dynamic,
non-calculability, autonomy towards the artist and the freedom from intentional form-giving
determination are conferred on the artistic result. In the interactive process fluent indetermined audiovisual forms arise as reactions to a dynamic,
ever-changing environment. In every moment the sounds and images are subject to the endless cycle
of becoming and passing. It is the life itself, which is subject to a constant change and which is giving the
interactive artwork its in the time-varying, indetermined and transient form. Nicole Pawlowski 2011 |