SciArt Magazine - All Issues December 2015 | Page 36

Paul DeMarinis. Photo
credit: Johnna Arnold.

CU: The work is super accessible, so you don’t need to
know anything about art history, the art world, or any
of the discussions that have been happening for years to
walk into one of my pieces and have this kind of playful
experience. You can make your own hypothesis about
why something is moving the way it is and then you can
test it. There’s this initial sense of something on screen
reacting, but I hope that is interesting and complex
enough so that people have to start asking what’s going
on.
The computer interaction responds to the viewer’s
body in a subtle way, not in a game interface way—you’re
not whacking things with your hand, or your body is not
turned into a mouse. It’s more about being immersed in
a system or another world that, I think, has a relationship to painting. It’s like when you sit in front of a painting and you get lost—I hope that there’s a connection
with that.
JF: Tell us about the piece you have in “NEAT.”
CU: What’s really different about Entangled is that it’s
two interactive systems superimposed on each other.
There’ ́