By Gerfried Stocker, Christa Sommerer, Laurent Mignonneau
Christa Sommerer and Laurent Mignonneau are of the main cutting edge and the world over popular media artists and researchers. Their paintings has been referred to as "epoch-making" (Toshiharu Itoh, NTT-ICC Museum, Tokyo) for constructing common and intuitive interfaces and for making use of clinical rules similar to synthetic existence, complexity, generative platforms and nanotechnologies to their leading edge interface design.
This monograph represents a entire review of Sommerer and Mignonneau s paintings and study. as well as supplying distinct undertaking descriptions of every interactive art, it comprises essays and articles via hugely famous media students and theoreticians who convey the interactive works of art of Sommerer and Mignonneau in an artwork and media artwork background perspective.
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Additional info for Christa Sommerer Laurent Mignonneau: Interactive Art Research
The vertices represent the objective (measurable) and perceived complexities of a given piece of art, be it a painting, symphony or play. The “objective complexity” is a measure of how complex the object is in itself, which is essentially a syntactic notion. “Perceived complexity” is the complexity seen by an observer of the artistic structure. Finally, “societal value” is some measure of how important the artistic form is, either to the community of specialists or to society as a whole. A crucial component of this project was to create meaningful – and workable – definitions of complexity for each of these three notions for diﬀerent types of artistic structures and to investigate the interrelations among them.
The “objective complexity” is a measure of how complex the object is in itself, which is essentially a syntactic notion. “Perceived complexity” is the complexity seen by an observer of the artistic structure. Finally, “societal value” is some measure of how important the artistic form is, either to the community of specialists or to society as a whole. A crucial component of this project was to create meaningful – and workable – definitions of complexity for each of these three notions for diﬀerent types of artistic structures and to investigate the interrelations among them.
Hence, Ars Electronica made these issues the central theme of the 1989 festival. Moreover, the Prix Ars Electronica, which the ORF (Austria’s Public Broadcaster) had established in 1987, launched a new competition category for interactive art. Parallel to this discussion on interactivity, scientists were conducting extensive research on artificial life, a topic that has recurrently fascinated humankind since the early days of Greek mythology. New possibilities in computer technology were opening up radically new perspectives.