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Puppet Show and Will-to-Power

7/28/2024, 3:22:17 AM | Jeanyoon Choi

Original Notes (Pre-LLM)

James Turrell Room of Chinchu Art Museum, Naoshima → Projector

프로젝터 맺힌 상으로 관람객들 자연스럽게 Puppet Show

This puppet show symbolises a representatitve example of will-to-power

Small movement → Hand movement → Becomes amplified (As a shadow)

And thus audience enjoys the puppet show doing by themselves → They want their interaction to be amplified, and thus the amplified interaction to span the whole space, thus highlighting and enhancing their ability to control the space and influence the space (will-to-power)

Multi-Device Web Artwork, when symbolised conceptually, is a conversation between the actor/audience/subject and the space. Audience (Audience body’s expansion → Digital Devices) controls the surrounding space (Augmented Space/Augmented Architecture/Digitally Augmented Space).

Thus comes the important of phenomenology → How to realise/meditate this conceptual connection of audience controlling the space with nowadays technologies and engineering/physical constraints? Traditional interactions like clicking might be not sufficient, maybe we need a somehow stronger interaction.

Also always important factor to consider: WILL-To-POWER. And thus how interaction is amplified, highlighted, and echoed throughout the space.

English Version (LLM-Generated)

The avant-garde vision of artist James Turrell's room in the Chinchu Art Museum in Naoshima is viewed as a projector connecting with audiences, manifesting itself as a puppet show. This puppet show isn't simply a child's play - it shows a tangible representation of Nietzsche's "will-to-power". Like puppets, every slight wave of the hand is amplified into grand gestures. The audience, interacting by their own volition, crave for this amplification. They desire their influence to traverse the halls, underlining their control and hold over space.

The conceptual symbolism of multi-device web artwork positions the audience not only as spectators but as an active participant in a dialogue with the empty space around them. Their physicality extends through digital devices, augmenting the space or architecture with digital artistry.

However, one must not overlook the key role of phenomenology - how can we make these conceptual interactions tangible through the use of advanced technology and engineering? Old-fashioned ways of interaction such as clicking may fall short. Perhaps there is a need for a more robust form of interaction.

Undeniably, the will-to-power retains its gravitational pull. It shapes the work, ensuring that interactions echo, augmenting and reverberating, throughout the landscape of the surrounding space. In this intersection of art and technology, every interaction becomes a powerful pulse, underlining the human ability to control and alter the space around them.

Korean Version (LLM-Generated)

나오시마에 위치한 친추 미술관의 제임스 투렐 룸, 그리고 프로젝터.

프로젝터로 퍼져나가는 공간 창조는 자연스럽게 관람객들을 인형극의 조종자로 만들어 주었어요.

이러한 인형극은 힘에 대한 의지를 대표하는 매우 상징적인 예요.

작은 움직임이 손동작으로 이어지고, 그 손동작이 그림자처럼 커져가죠.

따라서 관람객들은 자신이 호출한 인형극을 즐기게 되는 겁니다. 그들은 자신의 상호작용이 곤두박질치는 듯한 경험을 원하고, 그 일련의 경험이 공간 전체에 걸쳐 확장되길 바라죠. 이는 그들의 공간을 조정하고 영향을 미치는 능력을 강조하고 강화하는 것이죠.

다중 장치 웹 작품은 상징적 개념으로 표현하자면 행위자 혹은 대상과 공간 사이의 대화에요. 관람객(관람객의 신체 확장 → 디지털 장치)은 주변 공간(증강 공간/증강 건축/디지털 증강 공간)을 제어해요.

이런 구조에서 중요한 것은 현상학이에요. 관객이 공간을 제어한다는 이 개념적 연결을 어떻게 현실화하고, 이를 어떻게 인식할 것인지에 대해 고민해야해요. 기존의 클릭 등과 같은 상호작용만으로는 이에 부족함이 있을지도 모릅니다. 좀 더 강력한 상호작용이 필요할 지도요.

물론 고려해야 할 중요한 요소인 "힘에 대한 의지"도 빼놓을 수 없어요. 그래서 상호작용이 어떻게 확대, 강조, 그리고 공간 전반에 걸쳐 반향되는지를 고민해야 해요.