Artykuły
https://orcid.org/0000-0001-5109-3698
This article discusses the emergence of relational aesthetics, the idea of the laboratory, and the concept of “micro-utopia” related to so-called “immersive installations”. The author attempts to describe selected concepts crystallized in the context of new media arts to unveil the dilemmas of contemporary audiovisual exhibitions “immersing” the viewer in a space to stimulate an interaction and the reanimation of images or sounds. This brief outline demonstrates the transformations and conceptualization of the “laboratory” model perceived in the prism of Nicholas Bourriaud’s concept of “relational aesthetics”, characterized by open-endness, interactivity, resistance to closure, work-in-progress form, and laboratory specificity. In discussing the moving image aesthetics, often associated with the transformations of illusion our wish is to focus on the transdisciplinary and dialogic entanglements of the new media arts in-between the user, audiovisual image and arrangement in space. The focal point of my considerations is the convergence of new and old media used to interpret the art of moving images in the context of transmedia means of expression and dynamic exhibition arrangements. This perspective, inspired by the findings of Bruno Latour, attempts to re-draw the boundaries of the image in the footsteps of Nicholas Bourriaud and enrich the aesthetic landscape with new means of expression.
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English
Język Polski
https://doi.org/10.19195/2449-9285.71.10
