Critical Reflection in a Digital Media Artwork

297 Pages·2007·4.92 MB·English

by  Jack Stenner

CRITICAL REFLECTION IN A DIGITAL MEDIA ARTWORK -
PLAYAS: HOMELAND MIRAGE

A Dissertation

by

JACK ERIC STENNER

Submitted to the Office of Graduate Studies of
Texas A&M University
in partial fulfillment of the requirements for the degree of

DOCTOR OF PHILOSOPHY

August 2007

Major Subject: Architecture
CRITICAL REFLECTION IN A DIGITAL MEDIA ARTWORK -
PLAYAS: HOMELAND MIRAGE

A Dissertation

by

JACK ERIC STENNER

Submitted to the Office of Graduate Studies of
Texas A&M University
in partial fulfillment of the requirements for the degree of

DOCTOR OF PHILOSOPHY

Approved by:

Co-Chairs of Committee, Carol LaFayette
Andruid Kerne
Committee Members, Karen Hillier
Frances Downing
Head of Department, Mark J. Clayton

August 2007

Major Subject: Architecture
iii
ABSTRACT

Critical Reflection in a Digital Media Artwork -
Playas: Homeland Mirage. (August 2007)
Jack Eric Stenner, B.E.D.; M.S., Texas A&M University
Co-chairs of Advisory Committee: Prof. Carol LaFayette, MFA
Dr. Andruid Kerne

The introduction of digital media into the working practice of artists has produced
challenges previously unknown to the field of art. This inquiry follows an atypical
model of artist-driven research derived from disciplines such as social science and
education. Here, an artwork functions as a model that is self-reflective, integrating
methodologies in a form that benefits art and science. Using Naturalistic Inquiry,
including semi-structured interviews of fifteen participants, the work illustrates a process
of creation, analysis and evaluation that places the values of the artist on equal footing
with the needs of science.
Recently, artists have begun using video game engines as a tool to produce 3D
navigable spaces. Using the hybrid video game/installation Playas: Homeland Mirage as
a case study, this research examines the impact of technology on the artwork and
identifies a number of key issues related to the function of critical reflection in this
environment. Rules-of-play were a fundamental pre-requisite to the stimulation of
critically reflective experience. The human interface with software and hardware was
also a primary factor in reflective experience. Based on participant evaluation and
observation, the interface was altered in response to its effect on critical reflection,
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illustrating how choices in this area impact aesthetic experience. Those with experience
in visual art were more likely to engage the work in a critically reflective manner than
seasoned video game players who tended to be more interested in scoring and winning.
These findings and others inform our understanding of the stimulation of critical
reflection in immersive environments and show how we can sensitively integrate
technology with meaningful evaluative methods.
By repurposing a video game in this manner, we learn about the nature of the video
game and the nature of art. This research enables artists to gain a better understanding of
the medium to more fully integrate technology within a meaningful practice.
Conversely, other fields will benefit from a better understanding of the stimulation of
meaning in immersive spaces and gain a comprehensive view of a work that strives to
contribute to our culture on a deeper level than as simple entertainment. Ultimately,
more fully understanding critical reflection in virtual environments will enable us to
create enriched experiences that transcend space to create “real” or “virtual” place.
v

To my wife Stephanie and daughter Sydney who put up with me living in front of the
computer all this time.
vi
ACKNOWLEDGMENTS

Without Carol LaFayette, I would never have survived Bryan/College Station. She
was one of the few who “got it” and understood why art is important, the complexity of
its dialogue, why it is worth studying, and how one might go about integrating art and
science. In a similar manner, Andruid Kerne recognizes how both are inevitably
intertwined and beneficial to each other and provided the kind of theoretically grounded,
technologically astute, creative stimulus that was sorely lacking before his arrival.
Without his encouragement to fully develop Playas into an interactive installation and to
submit it to ACM Multimedia 2005, the project would have died. I would also like to
thank Karen Hillier for her gracious support for me, as well as my family, over the last
several years. She has been the constant that has helped me maintain a sense of
continuity from my earliest interests in space and form over twenty years ago to now.
Thanks also to Frances Downing. I wish I had met her sooner and had been able to work
more closely with her. Her thoughts on place and metaphor were groundbreaking for
me, as was her instruction on research methodologies. Without her guidance I would
never have been introduced to Yvonna Lincoln and Naturalistic Inquiry. While time and
other distractions have not allowed me to take full advantage of the wealth of knowledge
embodied by my committee, I can’t imagine a better group of people with whom to
work. Their inspiration and knowledge will be of benefit for the remainder of my life.
I would also like to thank Steve Rowell of the Center for Land Use Interpretation. I
would not have known about Playas, New Mexico without his introduction. His visit to
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Texas A&M in Spring 2005 was a fortuitous event that has changed my life. CLUI is a
testament to the viral nature of art. It illustrates that meaning is embodied in the world,
and that by sharing ideas art can branch into territories never anticipated.
Last, but certainly not least, I would also like to thank Yauger Williams. His energy
was infectious, and his graciousness in allowing the Playas project to commandeer a
semester of his class was invaluable. Without this contribution and those of the Visual
Studies 305 and 405 students in the production of the work, this dissertation would not
have been possible.
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TABLE OF CONTENTS

Page
ABSTRACT....................................................................................................... iii
DEDICATION.................................................................................................... v
ACKNOWLEDGMENTS................................................................................... vi
TABLE OF CONTENTS.................................................................................... viii
LIST OF FIGURES............................................................................................ x
CHAPTER
I SELF-REFLECTION AND THE CRITICAL IMPERATIVE.............. 1
Introduction................................................................................. 1
Context........................................................................................ 5
Personal Context................................................................. 6
Art-Historical Context......................................................... 10
Socio-Cultural Context........................................................ 24
Current Practice.................................................................. 34
Scientific Methodology and Art Evaluation.................................. 61
Science + Art...................................................................... 62
Transvergence..................................................................... 72
The Ecosystems Approach.................................................. 75
Playas as a Work of Art and Model of Research........................... 79
Genesis............................................................................... 79
Installation Description....................................................... 83

II AESTHETIC EXPERIENCE AND CRITICAL REFLECTION........... 86
Introduction................................................................................. 86
A Brief History of Art and Virtuality................................... 87
The Aesthetic Experience............................................................ 92
Six Dialogs of Experience and Value........................................... 97
Aura.................................................................................... 97
Objecthood.......................................................................... 102
Significant Form................................................................. 104
Dialogism........................................................................... 109
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CHAPTER Page

Remediation........................................................................ 118
Ontological Authenticity..................................................... 121
Reflection and Immersion............................................................ 122
Critical Reflection............................................................... 122
Critical Distance.................................................................. 134
Immersion and Mimesis...................................................... 137
Distraction.......................................................................... 141
Gaming as a Critical Aesthetic Experience................................... 146
Introduction........................................................................ 146
Contributory Forms............................................................. 147
Support Structures............................................................... 152
Content....................................................................... 152
Authorial Control....................................................... 153
Communicability........................................................ 153
Embodiment............................................................... 153
Prior Work................................................................................... 154

III ANALYSIS OF THE PLAYAS CASE STUDY................................... 166
Introduction................................................................................. 166
Architecture................................................................................. 166
The Video Game................................................................. 167
The Installation................................................................... 176
Conceptualization........................................................................ 179
Artistic Concept.................................................................. 180
Research Concept................................................................ 183
Content........................................................................................ 188
Spring A.I.R........................................................................ 189
ACM Multimedia 2005....................................................... 191
ISEA2006/ZeroOne............................................................ 196
Evaluation................................................................................... 205
Methodology....................................................................... 208
Four Support Structures....................................................... 211
Previous Experience............................................................ 217
General Response................................................................ 220
Specific Response............................................................... 230
Pattern Identification........................................................... 236
Sense of Immersion............................................................. 237
Sense of Control.................................................................. 244
Relationships....................................................................... 248
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CHAPTER Page

Summary of Results..................................................................... 253
Significant Findings............................................................ 253
Future Work........................................................................ 261

IV CONCLUSION.................................................................................... 264
REFERENCES AND NOTES............................................................................ 267
APPENDIX A.................................................................................................... 283
VITA.................................................................................................................. 284