Archivi tag: Interactive art

Sensibilia 2016 Embodiment venerdi 30 settembre, Roma

Venerdì 30 settembre 2016 – ore 11.00

Museo Hendrik Christian Andersen

Via Pasquale Stanislao Mancini, 20 – Roma


Francesca Dragotto

Università di Roma “Tor Vergata”

Embodiment e natura del segno linguistico: verso una ‘nuova’ primizia?

Carmela Morabito, Chiara Guidi

Università di Roma “Tor Vergata”

Le nuove forme di embodiment tra filosofia e neuroscienze cognitive

Tiziana Migliore

Università Ca’ Foscari di Venezia

Prede e predatori. Il prospettivismo nell’embodiment

Massimiliano Napoli

Università di Roma “Tor Vergata”

Dall’affordance alla narratività: l’effetto del senso


The interactive documentary Jheronimus Bosch, the Garden of Earthly Delights

The Garden of Earthly Delights by Jheronimus Bosch

The interactive documentary Jheronimus Bosch, the Garden of Earthly Delightsprovides an in-depth tour though The Garden of Earthly Delights. In a web interface the visitor will be taken on an audio-visual journey, including sound, music, video and images to enrich the storytelling.


The interactive documentary Jheronimus Bosch, the Garden of Earthly Delightsprovides an in-depth tour though The Garden of Earthly Delights. Accompanied by high resolution images of the painting, the exciting story of this masterpiece unfolds.

Besides the exploration of the art historical story of the painting we will give insight to the creative process of Jheronimus Bosch. In a web interface the visitor will be taken on an audio-visual journey, including sound, music, video and images to enrich the storytelling. The visitor of the interactive documentary will get a better understanding of what it was like to live in the Late Middle Ages, and for example of what importance religion was in daily life. The interactive documentary can be read like a book, one can come back after a visit and pick up the book again from the shelf to further explore.

The Garden of Earthly Delights is a story about moral and sin in a particular time. The painting however is timeless. The journey that the visitor sets out on in the interactive documentary is a personal one. Beneath the surface we aim to invite the visitor to reflect upon and question their sins and morals.

The interactive documentary Hieronymus Bosch, The Garden of Delights is part of the transmedia tryptich: ‘Hieronymus Bosch’. The transmedia tryptich consists of the documentary film ‘Hieronymus Bosch, touched by the devil’, the interactive documentary ‘Hieronymus Bosch: Garden of Earthly Delights’ and the Virtual Reality documentary ‘Hieronymus Bosch, the Eyes of the Owl’. Website:

Tetro+A media art agency

Tetro+A is an arts and culture production unit that develops original artistic projects for worldwide distribution.

Tetro+A is an arts and culture production unit that develops original artistic projects for worldwide distribution.

A for Artists: our talented artists, drawn from exhilarating and amazing realms of artistic endeavour, come from all corners of the planet to share with us the alchemy behind their artistic creation and the poetry of their artistic knowledge. These exceptional artists have surprises in store.


Design / Digital art / Plastic arts / Dance / Music / Lighting / Photography / Video

+A is the “Teatro” that adds luster to creativity by inviting artists to create and disseminate art projects. A lab that generates partnerships in every contemporary art discipline to produce interdisciplinary encounters in a variety of formats: conferences, performances, installations, videos, exhibitions and more.

Tetro+A actively brings together artists, audiences and businesses. It targets creatives from around the world, programmers (for festivals or institutions, event organisers, etc.) in France and worldwide, and businesses that wish to lend support for one of our productions.

Tetro+A provides support to innovative creatives in producing and disseminating their art projects. Learn more about them.



Christopher Bauder is director of the WhiteVoid studio in Berlin. He is active where art, design and technology meet, creating interactive installations for museums, festivals and other cultural events.His projects focus on the translation of bits and bytes into objects and environments and vice versa. Space, object, sound and interaction are the key elements of his work.



In order to understand the work of an architect, or a designer, to perceive truly the direction of his line, we have to consider his counterpoint, his perspective line. For Joran Briand, it’s the ocean. If he is now known for his urban inclusions –he has conceived the huge concrete nets on both the Mucem and the Jean-Bouin stadium for Rudy Ricciotti, in collaboration with Etienne Vallet – this young designer, keeps looking for the sea, open waters, the constant flow of waves unfolding.



Born in 1959 in Mexico City. Resides in Paris, France since 1985. Since 1978, Chevalier has focused exclusively on computers as an artistic means of expression. He quickly secured a spot on the international scene as a pioneer of virtual and digital art. Miguel Chevalier continues to be a trailblazer, and has proven himself to be one of the most significant artists on the contemporary scene.



Ben is a creative image maker focused on 3D illustration, design and art direction. His work encompasses a large range of 3D field creation, design, CGI retouch and digital art. Native of a village in southern France, he made his senior studies in Lyon, then moved to Paris. He begins as digital art director within a small agency. He will evolve into agencies such as Publicis, We Are Anonymous and Serialcut Madrid. After several years working in web and animation, he devoted himself entirely to still image today, to satisfy his taste for detail and composition. Search ideas, be in a creative and dynamic sphere, still lean is what he loves. It’s his work environment. He worked for Adobe, IBM, JP Gaultier, Nespresso, Nissan and agencies such as BETC, Grey, Havas WW, Hello Monday, PsyOp L.A, TBWA. His work has been featured into magazine like Wired, Fast Company, The Sunday Times, Vogue, Page and online presse like Fubiz,, It’s nice that, Form fifty five, FastCo design, Phaidon…



Umbrellium is a collective of architects, designers and creative technicians who specialize in producing participatory urban spectacles.



Born in 1968, Vincent Leroy is active on the contemporary art scene, designing works in motion that combine technology and poetry.



PITAYA is a creative studio founded by David Lesort and Arnaud Giroud. After a technical training cursus, respectively in metalworking and woodworking, the duo met during their industrial design’s study. They quickly abandon the rigid side of their initial training for a more artistic vision, and specialized in the light field.

In 2006, The studio from Lyon participated at his first event and creates thirty light chandeliers that have been installed in the public space during the Festival of Lights in Lyon.

Therefore, PITAYA has created new light projects and exhibit them in these new urban festivals, like if it was big open air galleries. Year after year, while it participates to these artistic events, the studio has gained visibility and experience.



Romain Tardy is a visual artist who currently focuses primarily on digital art. His installations, which often use the technique known as videomapping, are designed to be experienced in situ, using light as a means of enlarging existing architecture or structures of his own creation.



Trafik is a French creative studio, founded by Pierre & Joël Rodière, that specializes in graphic and multimedia development. It explores the shared ground between visual and graphic art creations, and interactive artistic experiences. This strategy, which draws on various aspects of digital culture such as user-friendliness, community, exchange and participation, enables the studio to create uninhibited, playful and unique projects.

Aesthetics of Interaction in Digital Art by Katja Kwastek

Since the 1960s, artworks that involve the participation of the spectator have received extensive scholarly attention. Yet interactive artworks using digital media still present a challenge for academic art history. In this book, Katja Kwastek argues that the particular aesthetic experience enabled by these new media works can open up new perspectives for our understanding of art and media alike. Kwastek, herself an art historian, offers a set of theoretical and methodological tools that are suitable for understanding and analyzing not only new media art but also other contemporary art forms. Addressing both the theoretician and the practitioner, Kwastek provides an introduction to the history and the terminology of interactive art, a theory of the aesthetics of interaction, and exemplary case studies of interactive media art.

Kwastek lays the historical and theoretical groundwork with discussions of processual strategies of twentieth-century art and theories of aesthetic experience, process aesthetics, play, and performance. She then develops an aesthetics of interaction, discussing such aspects as real space and data space, temporal structures, instrumental and phenomenal perspectives, and the relationship between materiality and interpretability. Finally, she applies her theory to specific works of interactive media art, including narratives in virtual and real space, interactive installations, and performance—with case studies of works by Olia Lialina, Susanne Berkenheger, Stefan Schemat, Teri Rueb, Lynn Hershman, Agnes Hegedüs, Tmema, David Rokeby, Sonia Cillari, and Blast Theory.

Katja Kwastek is Professor of Modern and Contemporary Art at VU Amsterdam.