Abstract

TOUCH! TOUCH SCREEN a new HAPTIC!

Cyril-André THOMAS

This research reveals a paradox related to the utilization of new technologies inside the theory of Haptisch and Optish in History of art. This work examines these historical notions in the framework of contemporary art and the using of new media. The computer, touch screens appear as a precious interface in order to develop the interactivity between museum and public. Since many years, computers flourish in museums, and in most cases, they serve to the transmission and the exchange of data for the viewer or researchers. Otherwise, computer with touch screen installations, and, by extension new media are integrated into museum collection like works of art. This paper focuses on the theory of Haptisch and Oprisch, and we analyse these notions (these developments, these borders, these stakes) by a confrontation with somes installations with use Touch screen : Lynn Hershman, Lorna 1982, In deep Contact 1984-1989 G. Weinbren, The Erl King de 1983-1985 et Sonata de 1991-93 Nell Tenhaaf, believable, if not always true de 1987, the Biosphère of Piero Gilardi, at Manco ,Geneva in 2003 and the work of Alexandre Castonguay.called Digitale. But within these works, we see the bloom of a reflection about an active-touch. In fact, are-these works called a new form of tactility. These installations are considered like an initiation with a tactile dialogue. Don't these some examples develop another proposal of the haptic one? Can one formulate an additive with this concept to make it relevant in the field of new technologies.