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The artist describes an interesting set of interaction-design principles that he used in developing the Dynamic Systems pieces:ġ) Using the full screen to facilitate an immersive experienceĢ) Relying on familiar human hand movements for input (point, touch, draw)ģ) Ensuring that the principles of interaction are rapidly learnable without requiring any verbal instructionsĤ) Avoiding graphical user interface conventions, such as menus, windows, or icons

I believe that a very similar type of enjoyment accounts for Snibbe’s interactive abstractions’ eventual success. The level of mental engagement involved in improvisation results in a very particular type of enjoyment, one that is impossible within the constraints of traditional author/audience division. Psychologically the experience of the audience is analogous to musical improvisation, where participants co-create and co-experience content simultaneously (this is perhaps why Snibbe’s work is sometimes described as a silent or “purely visual” form of music). It is this fundamental open-endedness that no doubt drives much of the works’ visceral appeal. The designer of the piece specifies the parameters controlled by the audience, yet he/she cannot possibly predict the content and the result of individuals’ contribution. The artwork is the set of rules, which construct a system in which the viewer is an essential part.” A slightly more user-centered formulation of the same idea might be that this art bridges the gap between the experience of the creator and that of the audience, enabling the latter to co-create the work.

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In terms of conceptual and interaction design, the apps simply replicate the earlier work.Ĭonceptually, the artist explains the motivation for the series as “blur the line between artwork and art-making tool. From the product design perspective, this illustrates the significance of the interface-design level of analysis, because it is at this level that the apps differ from the Dynamic Systems’ earlier, less successful versions. Snibbe is quoted as saying that he had all but given up on interactive abstraction as an artistic direction, yet his early pieces in this vein were instant hits on iTunes once adapted to the handheld format. The central point of the Bay Citizen is that the advent of the Apple mobile devices provided Snibbe and other artists interested in interactivity with an unprecedented vehicle for reaching audiences. All three pieces involve highly familiar hand gestures that shape, through direct manipulation, abstract or naturalistic dynamic imagery. Finally Myrmegraph (1998) allows users to determine the trajectory of animated ant trails by drawing. In Bubble Harp (1997), the user directs the decomposition of a plane into an increasing number of polygons by selecting a discrete set of points on that plane. In Gravilux (1998), one manipulates a simulated space filled with stars by manually exerting a virtual analogue of gravitational pull.

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Snibbe’s very popular mobile apps are closely based on an earlier Dynamic Systems interactive series that involved manual action, except that their original version used more traditional cursor-based interface. For example, in Falling Girl (2008) and Make Like a Tree (2006), people’s movements are replicated, with some time lag, by silhouettes projected onto screens, while in Blow-Up (2005) people’s breath triggers fans that reproduce its spatio-temporal contour. The audience thus has the experience of bringing an art piece’s content into existence. His installations are often designed to capture human bodily actions and respond to them. the opportunity for audience participation, is a central theme. Scott Snibbe is an artist for whom interactivity, i.e. In my overview, I focus on the work by Scott Snibbe and pose the following question: what is it about handheld apps that sets them apart and makes them a more successful environment for interactive art than any other? To illustrate the impact of mobile/handheld-device technology on the arts, this article describes the work of several individual artists who have used iPhone/iPad applications as an artistic format. “For digital artists, apps provide new palette.” New York Times Online.