A Contemporary Atomistic Model of Art—A First-Person Introspection of the Artistic Process
Round 1
Reviewer 1 Report
A very informative essay on the relationship between humans and machines in shared exhibition spaces. The article shows significant art historical knowledge and understanding of concepts specific to the field. A truly astonishing description of the exhibitions where no detail is left unexplored. One of the best essays I’ve read so far. Congratulations!
Author Response
Thank you! Best regards!
Reviewer 2 Report
The study is very interesting.
I would have no suggestion to improve it; I believe it is already very good in the present version.
Author Response
Thank you! Best regards!
Reviewer 3 Report
This article documents the digital visual art form’s central significance for immersive art in the 2020s.
Team-Lab’s shared spaces in Digital Ecosystems are Theodor Lipps’s Psychological aesthetics application of the imagination for the collective interactive projection: sensors, dynamic algorithms mapping, and digital technological projection. Team-Lab turns Lipps’s “working theory” of the imagination between the finite and the infinite, the determined and the determinable, the blooming and the shimmering, the fluttering and the flying. This idea of ‘lost, immersed and reborn’ processes allows people to understand how we experience the power of the Ultra-Technologist Group to confluence art science, techno-design, and the natural world into digital media installation artworks.
We initially encounter the richly complex and finely nuanced eco-systems of Continuity images as contrasts, but a longer view of the work allows these fields also to play off one another works in such a manner that the installation work as a whole becomes an experiential ecosystem with the possibility of depth and, of especial global significance, a horizon and the unfolding. In fact, Lipps helps Team-Lab interpret, as well as articulate, how Digital Ecosystems in this interplay of Forest of Flowers and “People (i.e., the possible horizon: see Kenny Chow’s 2013 project on the human-familiar, dynamic and lively animated phenomena) tries to mount an emotional interactive narrative for their audiences, co-creation interactivity and intervention, as the contours of human existence both emerge and dissipate in our experience viewing the work. As Lee (2022) and Team-Lab observed rightly, people share spaces for artworks to operate properly, and designed works to encourage democratizing communality experience – the collective interactive action is thus highly valued, rightly contemplative, and truly transformative to the environment and its inhabitants.
Further elaborative aspects of post-pandemic artworks and aesthetic artform can be deliberated for future art culture meditated on what happens when pandemic strikes or nothing happens. This engagement has a multifaceted dimension, offering presence and voice to the silenced and creative possibilities for greater change and development.
Author Response
Thank you! Best regards!
