The object speaks: connecting the post-optimal object design with new media arts discourse

摘要

This research paper aims to make evident a relationship between Post-udOptimal Object design and New Media Art. This objective is approached byudreflecting on the respective disciplines’ theoretical and practical area ofudexploration. In Chapter One, the concept of the Post-Optimal Object, which isuda proponent of design, is introduced and categorised, in order for it to beuddiscussed in relation to New Media Art. In Chapter Two, three art historicaluddescriptions utilised by Francis Halsall, which include: the dematerialisation ofudthe art object; intermedia; and the post-medium condition, will be used toudcontextualise New Media Art, and serve towards its discussion with theudconcept of the Post-Optimal Object. There will also be a contemporaryudreflection of these two disciplines, which include a genre of New Media Art,udreferred to as interactive digital installation; and a genre of the concept of theudPost-Optimal Object, which is ‘responsive’. In support of the proposedudarguments of this research paper, four case studies will be utilised forudillustrative purposes. In Chapter Three, a New Media Artwork, entitledudOverflow (2000), by artist Laura Nova, will be discussed in comparison to audPost-Optimal Object case study entitled, The Technological Dreams Seriesud(2007), by the design duo, Dunne & Raby. In Chapter Four, two additionaludcase studies will be compared and discussed: Standards and DoubleudStandards (2004) by interactive digital artist Rafael Lozano-Hemmer; and EtudDukkehjem (2008) by the design duo Roofoftwo.