Explore strategies:
The dominant factor of the Strategy of Archives is information, (audio)visual data gathered, organ-ized, and made available to the audience. Itscharacter, variety, characteristic, and ability to have impact on public determine each time the course and quality of interactive experience of a work. Each time interaction takes on a form of exploration of the resources of a presented collection, an exploration happening with the use of sort of presented map of data territory and tools supplied as part of the work’s dispositive.
Strategy of Game organizes events each time becoming a work of art evolving around interaction itself. Obviously, interaction as a crucial and defining characteristic of interactive art per se, it is to be found in its every aspect, regardless of the strategy updated at each given moment.
Works of art realizing the Strategy of Instrument do not only offer their users the experience of already-made form, but they don’t even suggest navigation through any form of data organization that had been*as a being*set prior to. Interactive experience is of purely performing character here. It is organized around an interface and is precisely the interface that plays the basic role in the Strategy of Instrument.
In the center of the Strategy of Labyrinth there is not so much information, but most of all its organization, and more precisely*their hypertext structure. Contrary to strategy of database, the interactor does not have any introductory knowledge at hand and neither does (s)he have any source of information that make up the back-ground of a work of art nor the structure that outlines the space and the course of experience.
Strategy of the Network creates, shapes, and organizes relationships that link the participants of an artistic event. Therefore, it is not interactions, but most of all their result*the created network of relationships*that is in the very center of its activities.
In the construction center of works realizing theStrategy of Rhizome, as is the case with theStrategy of Labyrinth, there is also a structure of organizing information resources. This time, how-ever, this organization takes on a form of cyber-text.
Recent appearance of numerous interactive artis-tic phenomena which made me outline the last one strategy in this typology*the Strategy ofSpectacle, seems paradoxical, spiral return of interactive art to traditional esthetics founded and reserved, contemplative experience, esthetics that was quite firmly rejected in the context of interactive art and defied by its creators in the whole early period of its history (by many of them up to the present moment). In the very center of this strategy is the event itself, which*as a result*takes on a form of a spectacle.
Works of art for which I find space in the context outlined by the Strategy of System and which started to appear since the beginning of the twenty-first century have immediately stirred many theoretical controversies. It came as a noticeable fact that despite their dynamic processing, digital properties, and immersing in interactive environment of the Internet, they do not create a possibility of real interaction for their users. They are characterized by eventfulness which does not find many ways out where the viewers are, but takes place rather in their inner-technological, digital world.