participation to interaction

interactive art is examined in this reading, primarily through its history. beginning, with Marinetti and the variety theater shows of the early 1900's, Dinkly examines 'interactive art'. Marinetti
is referenced for his use of the audience in his theater productions
where the audience was asked to interact, instead of simply segregating
themselves from the stage. this attempt to merge the 'viewer' from the
'performer', and blur those existing boundaries, is the foothold for
interactive,performative artwork.
from the futurists, dinkla moves on toward the Dada exhibitions that followed shortly after. Earnst,
through object placement and simple written instruction, attempted to
involve (or create the possibility of involvement for) the viewer.
closely followingEarnst's motivation, Duchamp challenged the audience with illuminating work themselves.
Cage and Kaprows
ideas in the 60's, translated the interaction through 'happenings'.
these events took place void of normal galleries and exhibition spaces,
thus attempting to avoid the normal constructions and relations of art
to viewer in the gallery. although these events were successful, they
still were looked upon as 'art events', simply with a different
conceptual approach.
Dinkla then moves on to talk about interactive work through newer technological means. the use of wireless technology, closed circuit television
"kaprow's happenings make abundantly clear that not every form of participation per se implies a higher responsibility for the visitor and this a less authoritarian role of the artist."

there is more talk in this article of interactions, but the importance
of the rest of the article, is the drive and desire to make truly
'interactive' work. the problem withalot of this field of work, is that
its not truly 'interactive'. it is simply dictation by the artist upon
the actions of the participant. the work moves toward closedcircuit television, where the viewers can choose whether to be in the sight of the camera or not, but still insnt
fully allowing the viewer to make decisions. work like Soundings creates unknown
and discovered interaction, yet it was an object not a space.
the closed circuit tv pieces by Nam June Paik
created simple outputs created and dictated by movement and sound of
others. in this way they are at least unknowingly confronted and
interacting, still staged and led, but allowed freedetermination of how they will react and interact.

"happenings and performances are
generally characterized by the impulse of bringing art and life closer
together..."