Experiential Art Manifesto
1.0 Experiential Art concerns with the experience and process of experience of individuals and audiences.
2.0 Experiential Art utilises technology, both analogue and digital, to expose audiences to unorthodox experiences.
3.0 Experiential Art acknowledges the shift from the so-called information age to the age of experience and related practices and methods.
4.0 Experimental Art is always time-based and frequently facilitated through a purpose-designed environment.
5.0 Experiential Art challenges the medium and form of art presented and experienced. It is often appears in new environments beyond institutional settings.
6.0 The aesthetic concern of Experiential Art is the human body and how it gives rise to living experience.
7.0 The body of the individual is the central arena of the artistic exploration.
8.0 A critical practice, Experimental Art reflects on the ontology and epistemology of the human body; this often characterised in the examination of human – machine interrelationship, predominantly the approaches on how technology provides a toolkit for artist to design experiences.
9.0 Experiential Art references and applies scientific findings to develop their aesthetic toolkit. This includes cognitive sciences, psychology and their interdisciplinary inquiry into human condition.
10.0 Experiential Art augments /enhances /hacks human perception and senses. It often engineers multi-sensory and cross-sensory experiences.
11.0 Experiential Art cultivates transdisciplinary practice; production methods of design and engineering are used in the creation of the artwork.
12.0 Experiential Art exploits the development of sensor technologies and machine learning in order to comprehend the viewer participants and their re/actions better.
13.0 Experimental Art applies technology to facilitate to expose individuals to its effects. Often facilitates a feedback loop by changing the artwork based on individuals’ (affective) actions.
14.0 Experiential Art acknowledges the importance of chance and designing for chance.
15.0 A full encounter with Experiential Art merely possible in first person. Reproduction, documentation and representation of an experience of experiential artwork are a hard problem.
16.0 Progressive methods of video capture, data collection and advanced user experience methods may provide most effective ways to document such works.
August 2015, London & Budapest