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      Digital Relationality: Relational aesthetics in contemporary interactive art

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      Proceedings of EVA London 2022 (EVA 2022)
      Use of new and emerging technologies in Digital Art, Data, Scientific and Creative Visualisation, Digitally Enhanced Reality and Everyware, 2D and 3D Imaging, Display and Printing, Mobile Applications, Museums and Collections, Music, Performing arts, and Technologies, Open Source and Technologies, Preservation of Digital Visual Culture, Virtual Cultural Heritage, Ethical Issues, Historical Issues, Digital Culture, Artificial Intelligence, NFTs
      4–8 July 2022
      Relational aesthetics, Antagonism, Interactive installation, Virtual and augmented reality, Social media
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            Abstract

            In 1998, Bourriaud proposed relational aesthetics as an art form that took interhuman relations as its content to confront the progressive commoditization of those relations and propose alternative ways of living. Twenty years later, relational aesthetics has become even more relevant as a tool to reveal the relationality between technology and each other, as our everyday social relations have been commoditized in ways previously unimaginable. Given the enormous shifts that have occurred since its inception, relational aesthetics needs revitalization. In this paper, we aim to renew relational aesthetics as ‘digital relationality,’ recognizing important critiques about a lack of antagonism from Claire Bishop and identifying ways in which incorporating relational aesthetics with interactive art may resolve many of these criticisms. We analyse four of our own artworks as examples of how merging relational aesthetics with interactive digital art can benefit both realms. We propose that applying relational aesthetics to digital media reveals the antagonism within the structures imposed by technology ordinarily taken for granted. Drawing attention to these structures, and subverting the typical uses of these platforms, allows for reflection and discourse. This can lead both artist and viewer to imagine alternative ways of living beyond the constraints we ordinarily operate within, becoming active participants in constructing a digitally relational future.

            Content

            Author and article information

            Contributors
            Conference
            July 2022
            July 2022
            : 150-157
            Affiliations
            [0001]University of British Columbia

            Kelowna, BC, Canada
            [0002]Simon Fraser University

            Surrey, BC, Canada
            Article
            10.14236/ewic/EVA2022.29
            3118a831-e15d-4888-9ab4-967b12183b49
            © Spartin et al. Published by BCS Learning & Development Ltd. Proceedings of EVA London 2022, UK

            This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

            Proceedings of EVA London 2022
            EVA 2022
            London
            4–8 July 2022
            Electronic Workshops in Computing (eWiC)
            Use of new and emerging technologies in Digital Art, Data, Scientific and Creative Visualisation, Digitally Enhanced Reality and Everyware, 2D and 3D Imaging, Display and Printing, Mobile Applications, Museums and Collections, Music, Performing arts, and Technologies, Open Source and Technologies, Preservation of Digital Visual Culture, Virtual Cultural Heritage, Ethical Issues, Historical Issues, Digital Culture, Artificial Intelligence, NFTs
            History
            Product

            1477-9358 BCS Learning & Development

            Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2022.29
            Self URI (journal page): https://ewic.bcs.org/
            Categories
            Electronic Workshops in Computing

            Applied computer science,Computer science,Security & Cryptology,Graphics & Multimedia design,General computer science,Human-computer-interaction
            Antagonism,Virtual and augmented reality,Relational aesthetics,Interactive installation,Social media

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