Index

ACKNOWLEDGMENTS   7

ABSTRACT   9

1. INTRODUCTION   11
1.1 Motivation and Research Questions   23
1.2 Research Methodology   27 
1.3 Structure of the Dissertation   30

2. CONTEXTUALISING POST-PARTICIPATION   33
2.1 Situating Interactive Art   34
2.2 Defining Interactive Art   38
2.3 The Crisis of Interactive Art   49
2.4 From Interaction to Post-Participation   55
    2.4.1 Direct vs. Indirect Post-Participation   67

3. INDIRECT POST-PARTICIPATION   71

3.1 The Rhythm of City   72
    3.1.1 Concept and Inspiration   73
    3.1.2 Indirect Post-Participation Component   77
    3.1.3 Realisation   80
3.2 The Rhythm of São Paulo   86
    3.2.1 Concept and Inspiration    86
    3.2.2 Indirect Post-Participation Component   88
    3.2.3 Realisation   90
3.3 Baltic Sea Radio   93
    3.3.1 Concept and Inspiration   94
    3.3.2 Indirect Post-Participation Component   100
    3.3.3 Realisation   102
3.4 Related Artworks and Discussion   105
3.5 Conclusions   114

4. DIRECT POST-PARTICIPATION   117
4.1 Data Tower   120
   4.1.1 Concept and Inspiration   120
   4.1.2 Direct Post-Participation Component   124
   4.1.3 Realisation   126
4.2 Budgie Waltz   129
   4.2.1 Concept and Inspiration   129
   4.2.2 Direct Post-Participation Component   132
   4.2.3 Realisation   135
4.3 Traveling Fish   138
   4.3.1 Concept and Inspiration   138
   4.3.2 Direct Post-Participation Component   141
   4.3.3 Realisation   142
4.4 Related Artworks and Discussion   145
4.5 Conclusions   157

5. CONCLUSIONS   159

6. KOKKUVÕTE   169

7. BIBLIOGRAPHY   183

8. LIST OF FIGURES   193

9. APPENDIX   197