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\pard\sa200\sl276\slmult1\f0\fs22\lang9 Intro:\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 current conflicts in china give way to a wealth of artworks detailing the struggles of pro-freedom individuals in totalitarian governments\par\r
{\pntext\f2\'B7\tab}The artworks \i ChinternetPlus \i0 by Maou Ming\i  \i0 and \i  Hansel&Gretel \i0 by Ai-WeiWei in collaboration with Pierre de Meuron and Jaccques Herzog are two works of art that seek to put the viewer into the shoes of individuals living under regimes that do not promote freedom and seek to use data to control us. This perhaps relating to the Communist Party of China's rule of law and strict enforcement of pro-status quo order.\par\r
{\pntext\f2\'B7\tab}Through examinging Kluszczynski's \i Strategies of Interavtive Art\i0  and his eight strategies the viewer is drawn up into a world of oppression and strife and forced to view a part of the world where surveilence and media are not just entertainment and a search for drama, but a matter of life and death. The being the strategies of INSTRUMENT(), GAME(),ARCHIVES(),LABYRINTH(),RHIZOME(),SYSTEM(),NETWORK() and SPECTACLE()\par\r
{\pntext\f2\'B7\tab}It is interesting to see how an artist living in Berlin uses Kluszczynski's strategies of interactive art to put viewers into the shoes of a Chinese citizen and at the same time, a web artist in China who can not get us to take part in the Chinese internet she uses puts us into her shoes and tries to get us to control our experience of a static web page and imagine the possible reactions and spontenaity that could form from being in her shoes.\par\r
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\pard\sa200\sl276\slmult1 Justification:\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 Ai WeiWei in collaboration with Pierre de Meuron and Jaccques Herzog uses a system of drones controllled with sonar beacons to track and record individuals in the exhibit and display images of them on the ground. Much like the well known fairy tale of Hansel&Gretel, in the exhibit as they frolick through the metaphorical forest, seeing their images on the ground and enjoy themselves in the naitivity that comes with a Western society that shuns political violence, they are lead into the witches house.\par\r
{\pntext\f2\'B7\tab}When the audience passes into the next part of the exhibit they view that individuals from next room were free to watch them, both playing the role of the observer and the observed. Peepholes in the walls allowed for an anolog view of spying while a livestream displayed their actions on a monitor. Facial recognition software runs onto a server to log the faces of everyone who has been in the exhibit and allowing their faces to be on sale at the gift shop without their consent. (HANSEL & GRETEL: VIDEO INSTALLATION EXPLORES THE IMPACT OF SURVEILLANCE.)\par\r
{\pntext\f2\'B7\tab}It's important to note that while \i Hansel&Gretel\i0 , an artwork aimed at providing an interactive survailence environment is much different from the website \i ChinternetPlus\b\i0 . \b0\par\r
{\pntext\f2\'B7\tab}Manovich says in his essay \i What is New Media \i0 "When we use the concept of "interactive Media" exclusively in relation to computer-based media, there is danger that we interpret "interaction" literally". This suggests that when discussing a website as interactive that we must be careful when using the word interactive. The question of if Kluszcynski's works truely may apply to the website, \i ChinternetPlus\i0  which is mostly a linear webpage more reminisent of net art must be justified.\i  \i0\par\r
{\pntext\f2\'B7\tab}\b Miao describes her place of residence as \ldblquote the Internet, the Chinese Internet (Great Firewall) and her smartphone.\rdblquote  Her works inhabit multiple forms (the browser, apps, print, and installation), are all meticulously cataloged on her website, titled \ldblquote the dead pixel of my eye,\rdblquote  and focus on the online culture behind the so-called Great Firewall, specifically its strange and original GIFs and viral media. In 2007, Miao spent three months looking up every word in the Chinese dictionary that was blocked by google.cn. The resulting work\f1\emdash The Blind Spot (2007), which became its own index of blocked words\emdash marked the beginning of her long-term focus on censorship in China. Miao recounts seeing censorship as \ldblquote the enemy\rdblquote  and wanting to change it with this work. More recently, she has become fascinated with what she calls the \ldblquote Stockholm Syndrome\rdblquote  that Chinese citizens experience toward the Great Firewall and the \ldblquote Chinternet\rdblquote  (the Chinese internet). \f0\lang1033  {{\field{\*\fldinst{HYPERLINK https://www.newmuseum.org/exhibitions/view/ying-miao-chinternet-plus }}{\fldrslt{https://www.newmuseum.org/exhibitions/view/ying-miao-chinternet-plus\ul0\cf0}}}}\b0\f0\fs22\lang9\par\r
{\pntext\f2\'B7\tab}\lang1033 This quote forms the justification for using \i chinternetPlus \i0  alongside \lang9 a set of strategies for interactive art.\par\r
{\pntext\f2\'B7\tab}Therefore discussion of \i ChinternetPlus's \i0 usage of the strategies of interactive art is a look at how she is documenting a world that she can not allow us to interact with due to the distances between our cultures and the great firewall. While the audience may directly participate in an Ai-WeiWei piece, Yao Ming's works are documentary in nature, though offering us a few branching paths, as if documenting how her own citizens in the internet behave as actors in chinese puppet theatre.\par\r
{\pntext\f2\'B7\tab}Ai-WeiWei's 2017 piece follows him having left to live in Berlin. It being a colaborative work with Herzog and Meuron also gives him greater freedom to express himself therefore it is much easier to apply a rule of interactive artwork upon him.\par\r
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\pard\sa200\sl276\slmult1 Hansel&Gretel\par\r
looking at how each of kcyzinsky's rules apply to this artwork and the role they have in establishing putting into author's shoes.\par\r
1) STRATEGY OF INSTRUMENT\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1  Hansel and Gretle makes use of letting participants use instruments to craft pictures on the ground.\par\r
{\pntext\f2\'B7\tab} It allows them to interface with these drones and create images of themselves on the ground which allows them to craft their own reactions to the images being displayed. \par\r
{\pntext\f2\'B7\tab}They involuntarily act out as the instruments in the portfolio collage that collects their faces and allows themselves to be sold in the gift store\par\r
{\pntext\f2\'B7\tab}In K's words these activities create the action space for the participant be them getting spied on or being fascinated by the drone setup\par\r
{\pntext\f2\'B7\tab}WeiWei and his collaborators are using this to pay attention to how we, living in a free country, do not intrinsicly realize the meaning of drones flying around. Many participants  played around with the setup  {{\field{\*\fldinst{HYPERLINK https://www.engadget.com/2017/06/16/ai-weiwei-hansel-and-gretel-surveillance/ }}{\fldrslt{https://www.engadget.com/2017/06/16/ai-weiwei-hansel-and-gretel-surveillance/\ul0\cf0}}}}\f0\fs22 , but in the second room with the spy  apartus the participant gets thrown into a place of consequence and power. How they react to this knowldege is an instrument in of itself and shows each individual their own personality.\par\r
{\pntext\f2\'B7\tab}The anouncer during WeiWei's segment in his artist talk brings up his biography and at many times his captivity was live streamed and points out that people in power always want to see more or know more. \par\r
{\pntext\f2\'B7\tab}described it as a reflection of life and aludes  to how in large cities our lives can get put into a simple image and that the purpose of these images is subjective and could be used against the common person.\par\r
{\pntext\f2\'B7\tab}Not a political message, but it does reference politics. \par\r
{\pntext\f2\'B7\tab}Instrument itself designed as a guide and an authoritative structure {{\field{\*\fldinst{HYPERLINK https://www.youtube.com/watch?v=QHwv9-QKbqM }}{\fldrslt{https://www.youtube.com/watch?v=QHwv9-QKbqM\ul0\cf0}}}}\f0\fs22\par\r
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\pard\sa200\sl276\slmult1 2)STRATEGY OF GAME\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 The playfull nature of the exhibit forces us wonder if it's a game\par\r
{\pntext\f2\'B7\tab}people see pictures on the ground and wish to have fun\par\r
{\pntext\f2\'B7\tab}the game of seeing yourself on a screen is the big turning point\par\r
{\pntext\f2\'B7\tab}it forces us to question our naitivity in the next room\par\r
{\pntext\f2\'B7\tab}forces us to consider what it's like to live in totalitarian regimes\par\r
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\pard\sa200\sl276\slmult1 3)STRATEGY OF ARCHIVES\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 The organization of the artwork makes the user feel like they are picking out which data they have available to them\par\r
{\pntext\f2\'B7\tab}users interest is pointed to the floors or the drones but not consequence\par\r
{\pntext\f2\'B7\tab}withholds information for later\par\r
{\pntext\f2\'B7\tab}creates a sense of powerlessness\par\r
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\pard\sa200\sl276\slmult1 4)STRATEGY OF LABYRINTH\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 exhibit is not so much a set of links that people can go to, but a start and a fixed destination\par\r
{\pntext\f2\'B7\tab}there is some freedom of how you experience it but the work seeks to guide you from point A to point B however you can linger between as much as you want\par\r
{\pntext\f2\'B7\tab}Not turely using the strategy of labyrinth\par\r
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\pard\sa200\sl276\slmult1 5)STRATEGY OF RHIZOME\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 Does not offer additional paths to be created by the users\par\r
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\pard\sa200\sl276\slmult1 6)STRATEGY OF SYSTEM\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 Like many post 21st century works this one is in the strategy of system.\par\r
{\pntext\f2\'B7\tab}It uses an automatic system to divide groups into the observers and the observed\par\r
{\pntext\f2\'B7\tab}the observed take on the use of cameras and displays while they are viewed by the observers\par\r
{\pntext\f2\'B7\tab}This creates a power structure that is indicative of authoritarian structures\par\r
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\pard\sa200\sl276\slmult1 7)STRATEGY OF NETWORK\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 The result is very powerful to this piece. \par\r
{\pntext\f2\'B7\tab}Participants are displayed on screens \par\r
{\pntext\f2\'B7\tab}Both in the first room the overlap of other people's images on the floor creates a sense of activity and shows that everyone is involved\par\r
{\pntext\f2\'B7\tab}The second screen shows powerlessness and that everyone involved is just another person being observed\par\r
{\pntext\f2\'B7\tab}Strategy of network strongly linked to observational art\par\r
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\pard\sa200\sl276\slmult1 8)STRATEGY OF SPECTACLE\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 The refinement of the strategy of network where the observer controls all the power over the art does not exist here.\par\r
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\pard\sa200\sl276\slmult1 ChinternetPlus\par\r
looking at how each of kcyzinsky's rules apply to this artwork and the role they have in establishing putting into author's shoes\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 An artist does not make a final, completed piece of art, instead produces an area of activity for the receivers, whose interactive actions bring to life an artwork-event.\par\r
{\pntext\f2\'B7\tab}Ying is using her work as a way to show outsiders what the role of the internet is like. \par\r
{\pntext\f2\'B7\tab}her work chinternetplus plays out as if she is describing an interactive work of art and wants us to be involved\par\r
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\pard\sa200\sl276\slmult1 1)STRATEGY OF INSTRUMENT\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 In Ying's work \i chinternetplus \i0 she plays on the satire of the internet as a giant work of art which she observes and plays in\par\r
{\pntext\f2\'B7\tab}Much like hansel&gretel uses displays and livestreams as instruments to guide the user's actions on the scene Miao Ying uses the socio-cultural medium as a way to build her gifs\par\r
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\pard\sa200\sl276\slmult1 2)STRATEGY OF GAME\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 Her works are not focused on games\par\r
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\pard\sa200\sl276\slmult1 3)STRATEGY OF ARCHIVES\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 The disjointed array of gifs suggesting a theatre of satire on the net.\par\r
{\pntext\f2\'B7\tab}overlaying of images suggesting that data on the chinternet is a series of information that viewers must go through, often experiencing long data loads.\par\r
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\pard\sa200\sl276\slmult1 4)STRATEGY OF LABYRINTH\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 Data is organized in such a way that the user, when met with links on the last few pages has not much of an idea what to do with it.\par\r
{\pntext\f2\'B7\tab}the overlaying of authentic and artificial activities gives the viewer the same choices a member of the chinternet might make.\par\r
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\pard\sa200\sl276\slmult1 5)STRATEGY OF RHIZOME\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 idk\par\r
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\pard\sa200\sl276\slmult1 6)STRATEGY OF SYSTEM\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 idk\par\r
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\pard\sa200\sl276\slmult1 7)STRATEGY OF NETWORK\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 Yao tries to push us into understanding the strategy of network on the internet through iframes. \par\r
{\pntext\f2\'B7\tab}At one point she creates a link to a carrosel of images linked to a wix page\par\r
{\pntext\f2\'B7\tab}her compilation video "post commentary, monetary likes and morgan fre..." suggests to us the end results of interactions and a network of individuals on the internet all forming a collective artwork.\par\r
{\pntext\f2\'B7\tab}strong link to communication artwork\par\r
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\pard\sa200\sl276\slmult1 8)STRATEGY OF SPECTACLE\par\r
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\pard{\pntext\f2\'B7\tab}{\*\pn\pnlvlblt\pnf2\pnindent0{\pntxtb\'B7}}\fi-360\li720\sa200\sl276\slmult1 The observer controls the flow of the artwork.\par\r
{\pntext\f2\'B7\tab}They may choose to skip the slow loading gifs or grow impatient, maybe wait.\par\r
{\pntext\f2\'B7\tab}The meaning of the piece is only apparent when a viewer scrolls through and sees the effects.\par\r
{\pntext\f2\'B7\tab}Differences in browser choices create differences in experience\par\r
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