The sublime in interactive digital installation: an analysis of three artworks: Listening Post, Translator II: Grower and The Cloud Harp

TL;DRAbstract

This examines the notion of the sublime in interactive digital installation art,
\nwith the primary aim of showing the methods and devices used to evoke the
\nsublime through interactive digital installation. The evocation of the sublime
\nwhich is largely associated with nature is an appealing aesthetic in these
\ntechnology driven artworks. This paper follows the history of the notion of the
\nsublime in the arts and philosophy from Dioynisus Longinus to Jean-François
\nLyotard, with an emphasis on Romanticism and Postmodernism. Three case
\nstudies of interactive digital installations art are presented and addressed:
\nBen Rubin and Mark Hansen’s Listening Post (2001-2003), Sabrina Raaf’s
\nTranslator II: Grower (2004) and the NXIO GESTATIO Design Lab’s The
\nCloud Harp (1997). These are addressed not only in regards to the histories
\nof the notion but to a contemporary adaptation of the notion, influenced by the
\ntechnology age and

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