Traces of interaction : the creative process, exhibition layouts and audience interactions

The methodology for this study was practice-led, allowing the creative practice to lead to knowledge gained through the artistic process. This study proposed that applying the practices of a makerspace to interactive art installations could provide viewers with a space for curious exploration and embodied experiences that could invigorate artistic practices in South Africa. The work was presented in three interactive exhibitions, to entice the audience to have sensory and embodied experiences with the work. While not prescribing participation, the outcomes of the interactive exhibitions directly affected the direction of the research and the resulting creative outcomes. The traces, documentation, and reflections from my studio practice and exhibitions played a significant role in this study by lending itself to interpretation. I made artworks after the exhibitions as a response, reaction, translation, or destruction of the audience’s interactions and their physical traces. Each participant was asked to read and consent to the terms of the study and whether they wanted to be documented. The forms for this consent were available online as a Google Form where the voluntary audience could agree to the terms of participation. A print form was also available at the gallery entrance. I documented and recorded the audience interactions as agreed upon in the consent form throughout the exhibitions and identified each participant by writing their attire in pencil on the back of the page.

本研究的方法论以实践为导向，使创造性实践引领通过艺术过程获得的知识积累。本研究提出，将创客空间的做法应用于互动艺术装置中，可以为观众提供一个充满好奇探索和具身体验的空间，从而激发南非的艺术实践。作品在三个互动展览中展出，旨在吸引观众与作品进行感官和具身体验。尽管不强制参与，但互动展览的成果直接影响了研究方向和最终的艺术成果。我从工作室实践和展览中的痕迹、文档和反思中汲取了重要的研究素材，这些素材为解读提供了丰富的素材。我根据观众的互动和物理痕迹，在展览后创作了艺术品，作为对观众的互动和其物理痕迹的反应、回应、翻译或解构。每位参与者都被要求阅读并同意研究条款，以及他们是否愿意被记录。同意书的形式以在线谷歌表单的形式提供，自愿观众可以在此同意参与条款。画廊入口处也提供了纸质形式的同意书。根据同意书中的约定，我在整个展览过程中记录和记录了观众的互动，并通过在页面的背面用铅笔写下他们的着装来识别每位参与者。