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Title: Plakat tradycyjny i interaktywny a partycypacja w sztuce
Authors: Osuchowski, Wojciech
Advisor: Ostrowski, Aleksander
Keywords: traditional poster; interactive poster; participation in art; interactivity; interdisciplinarity; transgression; new technology; new media; interface; dispositif; social poster; animation; Kinect technology; motion sensor
Issue Date: 2017
Publisher: Katowice: Uniwersytet Śląski
Abstract: The poster evolves while being a manifestation of pluralism in art. In the process of change, it is not difficult to see the multitude of direction to which it is subject. Those directions concern visual trends. At the same time, grows the number of works, which draw inspiration, or are being a continuation of many directions and schools. Some still follow the trend of modernism, some of which we would generally define as postmodern posters. The evolution is not only limited to formal differences in visual but also in the media used. The poster is a great example of breaking down barriers and interdisciplinary creation in visual arts. It turns out that this pluralism brings many problems when it comes to defining the criteria; what can be considered a poster. The discussions on the subject do not give specific answers. There are different opinions about the condition and even the function of the poster. It’s not hard to notice that the poster is no longer universally present in public space. Ousted by the commercial and modern mass media, it stopped being street art and became museum art. Thanks to its evolution, it gained the status of a separate genre of visual arts. The poster has always been in the traditional paradigm of art. Nevertheless, it is still trying to transcend its own laws and rules. The artists were able to successively exploit new technological innovations that greatly influenced the evolution of this genre. Lithography, then offsets and digital large format printing, the possibility to print in full colour, aero graphics, photography and finally computers and digital media – All of it shows the creators’ openness to new possibilities in image creation. There are increasingly clearer signals, that some of them are ready to try another transgression. With the development of new technologies and new media, we created works that we can define as transmedia – combining the traditional poster with animation, film or installation. Each recipient’s contact with the work is an act of participation. It is an interaction we can define as cognitive. My dissertation is an attempt to analyze not only the level of participation of the viewer in the artifact-poster but through the transactivity of the viewer to a functional and clearly formulated level. For this to happen I had to fulfill certain conditions. An interface, an instrument to „communicate” with the work, was necessary. The work itself required the development of a strategy, a scenario of action and the preparation of certain proposals for the dispatcher. Through such interactivity, participation in the cognitive, contemplative interpretation of a work, changes into a unique artistic event, and the viewer becomes a cocreator of the work situation. I divided the dissertation into two parts. I created a series of traditional posters, printed in B1 format. The posters are a social theme, pointing to timeless values like decency, honesty or identity. I also referred to current events and issues such as the threatened civil liberties, leadership crisis or globalism. The level of participation is enormously determined by the level of design and the visual means used. Part two is about interactive posters, partially multimedia because in few of them I have used the elements of animation. For obvious reasons, they are in the digital version, displayed on large screens or multimedia projectors. For the purposes of creating that part of my diploma thesis, I have set myself few limitations. The displayed image will not be created by any software algorithm. The posters are supposed to be mine, not computers’. The works are supposed to preserve all the features of a traditional poster. The animations implemented in several projects can not dominate. They are supposed to be just a message-enhancing element, not a way to transform the poster into an animated video. The topic of the interactive posters is social problems as well. Works inspired by famous works of art, The Creation of Adam by Michaelangelo, Birth of Venus by Sandro Botticelli, Henri Matisse’s Dance , Edvard Munch’s The Scream , Leonardo da Vinci’s Lady with an Ermine are touching the theme of creativity, beauty, prudence, the right to voice and violence. With a few other animated posters, I draw attention on human weaknesses, a problem with real democracy and pointing to personal goals. I also created one poster in several sequences pointing to global threats. I have prepared systems that enable the implementation of a project based on the Kinect technology, along with an original system based on motion sensors. Both required writing a dedicated software to handle them. In this form, I created three posters-systems. With some differences in particular solutions, their performance is generally similar. The screen image changes whenever an observer triggers a sensor acting as an interface. This picture is made up of the proposal-disposals I prepared. The ubiquitous digital revolution is knocking on the poster’s door, opening it, actually. This situation is not to be considered a threat to the traditional poster. I am convinced that digital, interactive posters can make a great contribution to the first. It may also be an opportunity for its wider operation in public space.
Appears in Collections:Rozprawy doktorskie (WSiNoE)

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