Presentation of Material Perception and Natural Environmental Memory in Installation Art with Technology Intervention
DOI:
https://doi.org/10.54097/zxj1af52Keywords:
Installation art; technology intervention; material perception; environmental memory; embodiment; immersive art.Abstract
Installation art with technology intervention is used to present material perception and natural environmental memory through space composition, sensory interaction and embodied viewing in this paper. Based on the above research, technology can create a digital effect for installation art; at the same time, it has also altered our perception and memory of materials, light, sound, and fragments of landscape. Based on recent studies of installation art and the body, memory-oriented practice-as-research, and ecological installation work, it can be shown that embodied viewers construct meaning through tactile, visual, and proprioceptive experiences. Technology and the medium of digital memory can also be used to preserve the traces of space, stimulate sensory perception, create an immersive environment for remembrance. Therefore, it is more suitable for technology-enhanced installation art to support, rather than substitute for, the physical presence of materials and the specificity of environments.
Downloads
References
[1] Kühnapfel, C., Fingerhut, J., & Pelowski, M. (2023). The role of the body in the experience of installation art: A case study of visitors’ bodily, emotional, and transformative experiences in Tomás Saraceno’s in orbit. Frontiers in Psychology, 14, Article 1192689. https://doi.org/10.3389/fpsyg.2023.1192689.
[2] Pelowski, M., Forster, M., et al. (2018). Capturing aesthetic experiences with installation art. Frontiers in Psychology, 9, Article 1255. https://doi.org/10.3389/fpsyg.2018.01255
[3] Barber, J. (2012). Installation art and memory: A practice-as-research exploration (Master’s thesis). University of Plymouth.
[4] Hornum, E. M. (2016). The material forms of memory: A creative arts praxis examining family archive materiality and the performance of memory through installation art (Master’s thesis). Edith Cowan University.
[5] Unver, M. (2026). Varieties of encounter in an immersive installation of nature (Master’s thesis). Auckland University of Technology.
[6] Lippard, L. (1997). The lure of the local: Senses of place in a multicentered society. New Press.
[7] Bachelard, G. (1994). The poetics of space. Beacon Press.
[8] Ingold, T. (2011). Being alive: Essays on movement, knowledge and description. Routledge.
[9] Kwon, M. (2004). One place after another: Site-specific art and locational identity. MIT Press.
[10] Bourriaud, N. (2002). Relational aesthetics. Les presses du réel.
[11] Tuan, Y.-F. (1977). Space and place: The perspective of experience. University of Minnesota Press.
[12] Merleau-Ponty, M. (2012). Phenomenology of perception. Routledge.
Downloads
Published
Issue
Section
License
Copyright (c) 2026 Academic Journal of Art and Design

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.










