5SAINT LOUIS COLLEGE-CEBU

M.D Echavez St.,Sudlon,Maguikay, Mandaue City

(Servant Leaders for Mission)

HUMM 2 - Contemporary Philippine Art from the Regions

SECOND QUARTER
WEEK 3 to WEEK 4– MODULE NO. 2

NOTES
Materials and Techniques in Contemporary Art
Welcome to the fourth module of the course on Philippine Contemporary Art from the
Regions. For this chapter, we will discuss the materials and techniques used by
contemporary artists. In this chapter you will be able to familiarize yourself with what
materials and techniques contemporary artists use locally. By learning about the materials
and techniques, you will be able to critique and justify the materials and techniques used by
artists when appreciating their works. Your knowledge in this chapter may also be applied in
your own artwork.

Materials Used in Contemporary Art

As mentioned earlier, contemporary artists are experimental in the materials they use. With
the help of technology and expanded knowledge from other countries, contemporary artists
are not limited anymore in using traditional materials. Some artists salvage materials that
they can still use to make creative forms. They can combine materials like wood and metal
that can interact with the wind to make music. There are some who use everyday items like
plastic cover for food, paper for sculpture, mirror or yarn. Some may use their personal
things like clothes or accessories.

In outdoor sculpture, artists may use brass welded together and mounted on concrete or metal
stand. For indoor sculptures, wood, glass and resin may be used. Found objects may be
combined to make interesting or unusual forms and may be covered in resin.

Paintings are no longer just paint on canvas. Artists may choose to paint on whatever
surface is available to them, some paint on the walls of buildings or even bridges. The
community or students may be asked to get involved in outdoor painting to make the
environment more pleasant or raise awareness about certain issues to the public.
In architecture, there is extensive use of glass and steel. Big glass windows or
walls are used to give indoor spaces a view of the outdoors, to give the indoor space a
sense of extension. In the recent years, there have been a lot of construction of buildings,
like malls, convention centers, business process centers, industrial parks and government
service buildings. These structures demand artworks and contemporary artists produce a
huge body of works to match the structures, both for indoors and outdoors.
Technology has redefined art in many ways. Some examples are:

 Light structures and floor drawings using colored beams and smoke
 Tubes hanging on the ceiling that respond to the viewer’s movements, sound and touch
 A wall climbing robot holding a paint
 A pen controlled by a software program to create certain patterns

Because of new materials and technology, artists also have to keep up and learn and
harness new skills, like using computer programs. Welding and carpentry are also useful for
fabrication and building structure. This requires physical strength and special tools. Some
materials have chemical components that are hazardous to health, like acid, resin and
fiberglass, and so artists need to keep on educating themselves for proper usage of the
materials and safety precautions. The choices of artists for materials are expanded by the
availability, variety and what possibilities these new materials can offer. This expansion is
essential in the development of contemporary art.
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 Skills, Production and Techniques in Contemporary Art
In wanting to experiment and expand their art knowledge, contemporary artists
educate themselves. They read books, study online and they can also interact with other
artists and learn from them. They experiment with materials from hardware stores and study
about chemical reactions to discover something new. Some learn welding and simple
engineering skills. That is why some artists are able to cross other art forms, or styles and
can be interdisciplinary artists, they have an experimental and curious nature.
When it comes to art production, an artist can work alone or collaborate with other
artists. Interactive and collaborative work is gaining popularity among Filipino artists. Visual
and performance artists combine talents and skills for public performances. Some hire resin
makers, house painters and materials fabricators to help them bring to life their ideas.
There are different types of techniques that artists can choose from. Below are some
examples:
COLLAGE
Collage (from the French: coller, ‘to glue’) is an assemblage of multiple objects, images, and
ideas – a union that transforms a selection of parts into a new work in its own right. A book
review on Cutting Edges: A Few Reflections on Contemporary Collage at Art Nectar defines
the medium thus:
Collage is, by definition, a pastiche of multiple sourced ideas fused to create something
new. Collage is a sum greater than its parts. It is a collection of minuscule slices of the
whole wide world, chosen randomly or carefully because […] they speak in some way to the
artist’s soul. They transform into a brand new statement or aesthetic.

Pablo Picasso‘s Still Life with Cane Chair (1912) is generally regarded as the first collage:
the artist pasted a patch of oilcloth onto the canvas of the piece. According to AnOther
Magazine the term ‘collage’ was coined by Picasso and Georges Braque. The article states
that the medium gained popularity as a reaction to the First World War:

[…] collage allowed artists to interact with existing materials – anything from newsprint and
magazines to maps, tickets and propaganda and photographs – to rip them apart and
reassemble them, creating visually dynamic hybrids.

Types of collage

Collage was subsequently attached to the Dadaist and Surrealist movements. Cubomania,
for example, is a Surrealist method whereby an image is cut into squares, which are then
reassembled automatically or at random. Collage was also widely used in Pop Art and
Nouveau Réalisme. The following are some common categorisations of the medium:

 Decoupage, which involves decorative paper cut-outs, e.g. Matisse’s Blue Nude II
(1952)

 Collage in painting, e.g. Picasso’s Still Life with Cane Chair (1912)

 Wood collage, e.g. Kurt Schwitter’s Merz Picture with Candle (c.1920s)

 Three-dimensional collage, which uses three-dimensional objects

 Photomontage, which involves combining several photographs into a composite

photograph

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  Digital collage, which involves the use of computer tools

Collage: A Contemporary Aesthetic

Writing in 1948, Clement Greenberg dubbed the medium “the pasted paper revolution”,
describing it as “the most succinct and direct clue to the aesthetic of genuinely modern art”.
Arguably, the collage also represents the aesthetic of the contemporary world. Pavel
Zoubok, a New York dealer whose gallery deals exclusively with collage works, was quoted
by Art News as saying:

We live in the age of not only digital culture but of multiculturalism. […] We live in the age of
interdisciplinary theory and studies. Everything about the way we function now is sort of
innately collaged.

Thanks to the proliferation of images, mass

reproduction technologies and new media,
the collage is successfully reinventing itself.
Apart from the explosion of raw material to
choose from, new methods of digital
collaging offer creative possibilities and
innovative crossovers that were previously
unimaginable. Even artists dedicated to
traditional paper collage are starting to
include digital elements; curator Charles
Wilkin says in a Hyperallergic interview:

Working digitally gives you the ability to

manipulate every aspect of the collage. […]
Up until recently there seemed to be a strong
division among collage artists on the paper
vs. digital topic but lately I’m seeing more
and more artists mixing the two, which is
great. Collage has historically been a
medium that embraces technology, I mean where would those Punk Rock flyers of the
1970s and 1980s be without a Xerox machine? So from my perspective the blend of both
hand work and digital technology seems like a natural evolution of the medium.

Source: https://artradarjournal.com/2015/04/17/what-is-collage-art-radar-explains/

ASSEMBLAGE
Is a form of sculpture comprised of "found" objects arranged in such a way that they create a
piece. These objects can be anything organic or
man-made. Scraps of wood, stones, old shoes,
baked bean cans and a discarded baby buggy - or
any of the other 84,000,000 items not here
mentioned by name - all qualify for inclusion in an
assemblage. Whatever catches the artist's eye, and
fits properly in the composition to make a unified
whole, is fair game. The important thing to know
about assemblage is that it is "supposed" to be
three-dimensional and different from collage, which
is "supposed" to be two-dimensional (though both
are similarly eclectic in nature and composition).
But! There's a really fine, nearly invisible line
between a bulky, multi layered collage and an
assemblage done in extremely shallow relief. In this
large,
Very Hungry God (2006) grey area
By postmodernist artist Sudobh between
Gupta.
Assemblage
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Modulefrom
6 stainless JOSERIE B. HERNANE
steel
kitchen utensils, pots and pans.
 assemb- and col-, the safest course is to take the
artist's word for it.
Popularized in the United States during the 1950s and 1960s by artists like Robert
Rauschenberg (b.1925) and Jim Dine (b.1935), Assemblage is a form of three-dimensional
visual art whose compositions are formed from everyday items, usually called "found objects"
(objets trouvés). (See also Junk art.). The term 'assemblage' dates from the early 1950s,
when the French faux naif artist Jean Dubuffet (1901-85) referred to his collages of butterfly
wings, as 'assemblages d'empreintes'. Sometimes referred to as bricolage, collage and
construction, Assemblage was a stepping stone towards other contemporary art forms such
as Pop-Art and Installation art.

Origins
Despite its post-modernist image, 1950s Assemblage compositions can be traced back to the
early twentieth century Synthetic Cubist works of Georges Braque (1882-1963) and Pablo
Picasso (1881-1973). In 1912, Braque began mixing sand and sawdust with his paint in order
to create interesting textures. Picasso went further and introduced collage in his painting Still
Life with Chair-Caning (1911-12). Braque responded by inventing Papier Colle which he used
in Fruit Dish and Glass (1912). These artworks were the first to obscure the traditional
distinction between fine art painting and sculpture, by violating the picture plane with the
incorporation of three-dimensional 'objets trouvés'. Other early examples include the
sculptural assemblages of the Italian Futurist artists Umberto Boccioni (1882-1916) and
Fillipo Tommaso Marinetti (1876-1944), as well as the Constructivism of Vladimir Tatlin
(1885-1953). The Dada and Surrealism movements also experimented with the inclusion of
natural and industrial objects in their paintings. Marcel Duchamp (1887-1968), the so-called
father of Conceptual Art was another innovator in this area. One should note that purists
insist on a distinction between collage (supposedly 2-D) and Assemblage art (3-D). However,
a difference in principal is not detectable, being merely a matter of degree.

Source: http://www.visual-arts-cork.com/assemblage-art.htm

DECALCOMANIA

A technique for generating images by applying paint to one surface, which is then pressed
against another surface to transfer the design. The term was popularised by the Surrealists in
the early twentieth century. A variation is popular with young school children in a process often
referred to as a ‘butterfly print’, where paint applied to paper is then folded and opened again.
The shortened version of the term commonly used today is ‘decal.’

Georges Hugnet Portrait automatique de l'automate d'Albert-le-Grand [Automatic Portrait of the

Automaton of Albertus Magnus] 1938 © ADAGP, Paris and DACS, London 2018.
Origins of the technique

Various forms of image transfer have existed in art for centuries, however, the origin of the term
‘decalcomania’ is often linked back to eighteenth-century French-English engraver Simon
Francois Ravenet, who named his image transfer printing techniques ‘decalquer’ (taken from
the French ‘papier de calque’, or ‘tracing paper’). A number of painters in the same century also
began experimenting with ink blot processes which they discovered could introduce accidental
forms of expression into artworks, such as English landscape painter Alexander Cozens, who
explored ways ink stains on paper could be transferred onto a canvas, writing, 'the stains,
though extremely faint, appeared upon revisal to have influenced me, insensibly, in expressing
the general appearance of landscape'. The term decalcomanie began to appear more
commonly in England in the nineteenth century, referring to a form of transfer printing onto
porcelain, although techniques of ink transfer continued to develop in various media. Many saw
in decalcomania techniques the possibilities for suggesting the macabre and occult, which were
popular subjects in Victorian society; Doctor and poet Justinus Kerner transformed folded
inkblot experiments into curious symmetrical forms, which he called ‘creatures of chance,’
published in the book Klecksographien in 1857, while Victor Hugo’s ‘stain’ transfer paintings
reveal a fascination with ghosts, spirits, and the afterlife. Swiss psychoanalyst Hermann
Rorschach developed his famous symmetrical inkblot tests in 1921, believing ambiguous
‘butterfly printed’ forms could reveal the inner workings of the human mind.

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Surrealist Techniques

In the early twentieth century inkblot processes were adopted by the French Surrealists as one
of several automatism techniques including grattage and frottage, which allowed chance and
subconscious thought to dictate the final form of their art. It is thought Spanish Surrealist Oscar
Dominguez coined the art term ‘decalcomania’, describing his prints as, 'decalcomania with no
preconceived object'. He generally worked in black and white, painting a thin layer of gouache
onto paper or glass and pressing this sheet onto another surface, such as paper or canvas, to
create strange forms suggestive of beasts, figures or rocky landscapes. Max Ernst saw in
decalcomania a random act that could ignite his imagination, applying transfer print techniques
in oil paint as a starting point onto canvases which he would then build into with elements of
realism, suggesting mythical creatures in strange, unknown places. George Hugnet often
applied satirical meaning to the resulting imagery of his decal prints, such as Portrait
automatique de l’automate d’Albert-le-Grand (Automatic Portrait of the Automaton of Albertus
Magnus), 1938, in which he compares his print with the head of the thirteenth-century
theologian and alchemist Albertus Magnus.

Contemporary examples

While decalcomania is most commonly associated with Surrealist art of the early to mid-
twentieth century, artists since this time have continued to explore image transfer techniques as
an ‘automatic’ form of image making, particularly the Abstract Expressionists of the 1960s. More
recently, Cornelia Parker has made drawings which incorporate contemporary materials into the
decalcomania process, such as Pornographic Drawing, 1996, in which an inky substance
extracted from pornographic film material was applied to paper, folded in half and opened again
to reveal surprisingly sexualised imagery through the process of chance.  

Source : https://www.nationalgalleries.org/art-and-artists/glossary-terms/decalcomania

DECOUPAGE 
 Is the art of decorating an object by gluing colored paper cutouts onto it in combination with
special paint effects, gold leaf and other decorative elements. Commonly, an object like a small
box or an item of furniture is covered by cutouts from magazines or from purpose-manufactured
papers. Each layer is sealed with varnishes (often multiple coats) until the "stuck on"
appearance disappears and the result looks like painting or inlay work. The traditional technique
used 30 to 40 layers of varnish which were then sanded to a polished finish. Three dimensional
decoupage (sometimes also referred to simply as decoupage) is the art of creating a three-
dimensional (3D) image by cutting out elements of varying sizes from a series of identical
images and layering them on top of each other, usually with adhesive foam spacers between
each layer to give the image more depth. Pyramid decoupage (also called pyramage) is a
process similar to 3D decoupage. In pyramid decoupage, a series of identical images are cut
into progressively smaller, identical shapes which are layered and fixed with adhesive foam
spacers to create a 3D "pyramid" effect.
MANILA. Lopez Museum, the tables in the café area have decoupage of old published texts
and comic strips culled from various newspapers and magazines that talk about art and
society. (http://www.vintersections.com/2014/09/art-exhibition-lopez-museums-articles.html)
Origins
The word decoupage comes from Middle French "decouper", meaning to cut out or cut from
something. The origin of decoupage is thought to be East Siberian tomb art. Nomadic tribes
used cut out felts to decorate the tombs of their deceased. From Siberia, the practice came to
China, and by the 12th century, cut out paper was being used to decorate lanterns, windows,
boxes and other objects. In the 17th century, Italy, especially Venice, was at the forefront of
trade with the Far East and it is generally thought that it is through these trade links that the cut
out paper decorations made their way into Europe.

Florentine decoupage
Artisans in Florence, Italy, have produced decorative objects using decoupage techniques since
the 18th century. They combined decoupage with other decorative techniques already popular
in Florence, such as gilt with gold leaf and carved wood designs. These older techniques were
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already used to produce articles such as furniture, frames for paintings, and even tooled leather
book covers. Known as Florentine style crafts, these items are now highly collectible antiques.
Florentine artisans made use of decoupage by adding it to the space within a carved gilt frame,
or by adding the decoupage to a wooden plaque. Artisans used pasted reproductions of famous
artworks, nearly always religious depictions. Florentine triptychs using decoupage images of
such Biblical scenes as the Crucifixion are a common motif. As society became more secular in
the early 20th century, and non–Roman Catholic tourists began buying more crafts from
Florentine artisans, decoupage images became less religious in orientation and more reflective
of famous Italian artworks in general.

FROTTAGE

is a technique of dry friction which has its origin in graphics. It was developed by the famous
surrealist artist Max Ernst. He created hundreds of frottage drawings in the second half of 1925.
Thirty-four were published a year later with the title “Histoire naturelle” (Natural History). Today
they belong to the most beautiful series of modern graphics. In this article you will learn what the
frottage technique in art is all about, what you need for it and which artists were crucial for its
popularity.
How to use the frottage technique in art

For the Frottage you can use various materials as printing plates. There is no limit to your
imagination. The only requirement is that the materials you use have a relief and a rough
surface structure. You use paper as the printing medium. It is placed over the object and
carefully fixated with your hands. Then take a soft lead or carbon pencil and rub it over the
paper. As you rub the paper the surface texture of your desired object is transferred to the
paper. It will become graphically visible. What is being used as a printing block does not have to
be inked. The result is a blurry image of the material. The raised areas appear darker on the
paper because more abrasive graphite sticks to them.

MONTAGE

Is a filmmaking technique that uses a series of short images, collected together to tell a story or
part of a story. This is usually used to advance the plot in some way without showing all the
detail of what’s going on – for example, you might show a series of quick shots in which an
inventor is scribbling at his desk, then poring over a book on the train, then staring intently at a
computer screen. Without using any words, the filmmaker shows us that this inventor is working
intensely on his latest project. Sometimes, people use the word “montage” more loosely to
mean any collection of small, discrete elements in a story or poem. We can call this “literary
montage.” However, the term usually refers to film rather than literature.
Types of Montage
There are an infinite number of different types of montages, but three of the most common are:
a. Musical Montage
In a musical montage, the shots are accompanied by a song that somehow fits with the theme
of what’s being shown. For example, a montage might show a young couple going through a
series of increasingly intimate dates while a romantic song plays in the background.
b. Narrated Montage
If the montage is not set to music, there might be a character narrating what’s going on. An old
cop, for example, might be telling the story of his first year on the force and how over-the-top his
methods were; as he tells the story, the viewer would see a montage of the officer stepping over
the line with suspects in various situations.
c. Photo Montage
Instead of filmed shots, a montage can also be formed out of still images. For example, a
character’s whole life story could be told by showing a long succession of images, starting from
baby photos and ending with a photo of the character as an old man. This technique is also
frequently set to music, creating a “musical photo montage.”
The Importance of Montage

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In film, montages can accomplish a couple of things:
1. They can compress time
In the real world, it would probably take Tony “Scarface” Montana years to achieve success
(including planning his wedding). But the movie montage takes less than three minutes to show
this part of his life! When the details are unimportant, a montage can show what’s happening
over a long period of time.
2. They can show simultaneous action
In one part of town, the robbers are getting ready to pull off the greatest heist of their lives; at
the same time, on the other side of town, the police are getting ready for the sting operation that
will bring the mob to its knees; and perhaps, in a third part of town, the kingpin’s wife is in a
hospital giving birth to their first child. Of course, the viewer cannot “be” in all these places at
once; but by cutting quickly from one scene to another the film can show everything to the
viewer at once.
In literature, it’s much easier to accomplish these compressions of time and space without using
a montage (for example, by using words like “meanwhile,” or “after many years”). So it’s much
less clear what the purpose of montage might be in literature. However, there’s one particularly
popular theory devised by a man named Sergei Eisenstein.
Eisenstein was perhaps the most influential theorist of montage in literature and film, and his
idea was that montage is supposed to mimic the fragmentations of the modern world. Think
about it: as you go about your life, you move from TV screen to computer screen to iPhone to
advertisements on the bus; you are constantly experiencing little snippets of imagery from the
world around you. These experiences do not come together to form a single, unified narrative,
and yet you craft a narrative (called “My Day”) out of them. Eisenstein argued that montages
appeal to modern viewers because they are used to going about the world in this way.
Trapunto painting is where canvases are padded, sewn, and often filled with sequins, beads,
shells, buttons, tiny mirrors, glass, swatches and other things to make an artistic composition.
TRAPUNTO
painting is where canvases are padded, sewn, and often filled with sequins, beads, shells,
buttons, tiny mirrors, glass, swatches and other things to make an artistic composition.

Trapunto is a form of quilting in which a single outline in small running stitches is worked
through two layers of relatively fine material. In this technique, the backing is a loosely
woven cloth, such as muslin. The stitching is used to create a pattern, which is filled with
cotton wadding drawn through the muslin from the back with a steel crochet hook. Each
element of the design is padded in this manner. Perhaps the oldest extant example of
trapunto is the Sicilian Tristan quilt, dating to the late fourteenth century. Also known as
Italian quilting or stuffed quilting.

DIGITAL APPLICATION
Digital art is an artistic work or practice that uses digital technology as part of the creative or
presentation process. Since the 1960s, various names have been used to describe the
process, including computer art and multimedia art. Digital art is itself placed under the
larger umbrella term new media art. After some initial resistance, the impact of digital
technology has transformed activities such as painting, drawing, sculpture and music/sound
art, while new forms, such as net art, digital installation art, and virtual reality, have become
recognized artistic practices. More generally the term digital artist is used to describe an
artist who makes use of digital technologies in the production of art. In an expanded sense,
"digital art" is contemporary art that uses the methods of mass production or digital media.
Lillian Schwartz's Comparison of Leonardo's self portrait and the Mona Lisa based on
Schwartz's Mona Leo. An example of a collage of digitally manipulated photographs. The
techniques of digital art are used extensively by the mainstream media in advertisements,
and by film-makers to produce visual effects. Desktop publishing has had a huge impact on
the publishing world, although that is more related to graphic design. Both digital and
traditional artists use many sources of electronic information and programs to create their
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 work. Given the parallels between visual and musical arts, it is possible that general
acceptance of the value of digital visual art will progress in much the same way as the
increased acceptance of electronically produced music over the last three decades. Digital
art can be purely computer-generated (such as fractals and algorithmic art) or taken from
other sources, such as a scanned photograph or an image drawn using vector graphics
software using a mouse or graphics tablet. Though technically the term may be applied to
art done using other media or processes and merely scanned in, it is usually reserved for art
that has been non-trivially modified by a computing process (such as a computer program,
microcontroller or any electronic system capable of interpreting an input to create an output);
digitized text data and raw audio and video recordings are not usually considered digital art
in themselves, but can be part of the larger project of computer art and information art.
Artworks are considered digital painting when created in similar fashion to non-digital
paintings but using software on a computer platform and digitally outputting the resulting
image as painted on canvas. Andy Warhol created digital art using a Commodore Amiga
where the computer was publicly introduced at the Lincoln Center, New York in July 1985.
An image of Debbie Harry was captured in monochrome from a video camera and digitized
into a graphics program called ProPaint. Warhol manipulated the image adding colour by
using flood fills. At present—and whatever else can be said, pro or con, about the effects of
digital technology on the arts—there seems to be a strong consensus within the digital art
community that it has created a "vast expansion of the creative sphere", i.e., that it has
greatly broadened the creative opportunities available to professional and non-professional
artists alike.

Computer-generated visual media

Digital visual art consists of either 2D visual information displayed on an electronic visual
display or information mathematically translated into 3D information, viewed through
perspective projection on an electronic visual display. The simplest is 2D computer graphics
which reflect how you might draw using a pencil and a piece of paper. In this case, however,
the image is on the computer screen and the instrument you draw with might be a tablet
stylus or a mouse. What is generated on your screen might appear to be drawn with a
pencil, pen or paintbrush. The second kind is 3D computer graphics, where the screen
becomes a window into a virtual environment, where you arrange objects to be
"photographed" by the computer. Typically a 2D computer graphics use raster graphics as
their primary means of source data representations, whereas 3D computer graphics use
vector graphics in the creation of immersive virtual reality installations. A possible third
paradigm is to generate art in 2D or 3D entirely through the execution of algorithms coded
into computer programs. This can be considered the native art form of the computer, and an
introduction to the history of which available in an interview with computer art pioneer
Frieder Nake. Fractal art, Datamoshing, algorithmic art and real-time generative art are
examples.

Computer generated 3D still imagery

3D graphics are created via the process of designing imagery from geometric shapes,
polygons or NURBS curves to create three-dimensional objects and scenes for use in
various media such as film, television, print, rapid prototyping, games/simulations and
special visual effects.
There are many software programs for doing this. The technology can enable collaboration,
lending itself to sharing and augmenting by a creative effort similar to the open source
movement, and the creative commons in which users can collaborate in a project to create
art. Pop surrealist artist Ray Caesar works in Maya (a 3D modeling software used for digital
animation), using it to create his figures as well as the virtual realms in which they exist.

Computer generated animated imagery

Morphogenetic Creations computer-generated digital art exhibition by Andy Lomas,
including animation, at the Watermans Arts Centre, west London, in 2016 Computer-
generated animations are animations created with a computer, from digital models created
by the 3D artists or procedurally generated. The term is usually applied to works created
entirely with a computer. Movies make heavy use of computer-generated graphics; they are
called computer-generated imagery (CGI) in the film industry. In the 1990s, and early 2000s
CGI advanced enough so that for the first time it was possible to create realistic 3D
computer animation, although films had been using extensive computer images since the
mid-70s. A number of modern films have been noted for their heavy use of photo realistic
CGI.
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 Digital installation art
igital installation art constitutes a broad field of activity and incorporates many forms. Some
resemble video installations, particularly large scale works involving projections and live
video capture. By using projection techniques that enhance an audience's impression of
sensory envelopment, many digital installations attempt to create immersive environments.
Others go even further and attempt to facilitate a complete immersion in virtual realms. This
type of installation is generally site-specific, scalable, and without fixed dimensionality,
meaning it can be reconfigured to accommodate different presentation spaces. Noah
Wardrip-Fruin's "Screen" (2003) is an example of interactive digital installation art which
makes use of a Cave Automatic Virtual Environment to create an interactive experience.
Scott Snibbe's "Boundary Functions" is an example of augmented reality digital installation
art, which responds to people who enter the installation by drawing lines between people
indicating their personal space.

Source : https://en.wikipedia.org/wiki/Digital_art

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