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Unde!"#anding In"#alla#ion and Pe!fo!mance A!#: A Con%e!"a#ion
be-#&een An#hon( C!i"af$lli and Lo!en)o Pace:
Some Ba! on #he Me'ican F!on#ee!
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Crisafulli: TV and Video offer immersive e!periences, but their
unrelenting con-
trol over the rh"thm of passing time and the arrangement of
images precludes an
intimatel" personal vieing e!perience. Ultimatel", the onl"
things a vieer can
be assured of hen e!periencing the ork are his on thoughts and
preconcep-
tions and the basic rules of space and time.
The central importance of the subjective point of vie hen
e!periencing installa-
tion art points toard a disregard for traditional Platonic image
theor". In effect,
the entire installation adopts the character of the simulacrum
or flaed statue: it
neglects an" ideal form in favor of optimi#ing its direct
appearance to the ob-server. Installation art operates full" ithin
the realm of sensor" perception, in a
sense $installing% the vieer into an artificial s"stem ith an
appeal to his sub-
jective perception as its ultimate goal.
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In#e!ac#i%e In"#alla#ion"
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The P!ojec# Backg!o$nd
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