The spectacle gave way to a tactile system that solicits audience participation

Evidence

As its title suggested, the show was predicated on viewer response, which might include vertigo or migraines. Some of the work was so irritating that museum guards petitioned for sunglasses. As though trying out a new dance, visitors were performing gyrations before the paintings. Critics observed them bobbing up and down, shaking their heads, even making little jumps in pursuit of ocular kicks. The Responsive Eye was the subject of a Mike Wallace report and a half-hour documentary by twenty-five-year-old Brian De Palma, who took particular pleasure in capturing the giddy opening-night crowd, which included women dressed in do-it-yourself op outfits. — J. Hoberman, Everything Is Now, 696 (#corroborates, via linked claim)

The Four Pianos performances epitomized the Park Place utopian vision—an environment conducive to shared ideas and pooled resources, a place for new technology and collaborations with nonartists. Carman Moore’s laudatory review, illustrated by Fred McDarrah’s photograph of the concert refracted through a bank of Ross’s prisms, described “a well-attended and glittering affair” that literally blew minds: “So strong was the effect of Four Pianos that one of the listeners, who were all sprawled on the floor, fell into a howling kind of fit from which he emerged, shaken but otherwise (I think) undamaged.” — J. Hoberman, Everything Is Now, 1045 (#corroborates, via linked claim)

The networked audience is intrinsically involved in any event publicized over social media, and are able to use their own Twitter accounts, blog comments, or Facebook walls to add their opinions and thereby become an ever-present member of the conversation. Unlike the broadcast audience, the networked audience is connected through the lifestream, which allows for active participation beyond simply reading digital messages. — Alice E. Marwick, Status Update, 593 (#expands, via linked claim)

Categorization

• XREF: connects to: The Responsive Eye show turned museum viewing into a participatory physical spectacle — J. Hoberman, Everything Is Now: The 1960s New York…, 696; Gallery concerts deliberately fused art, technology, and audience to provoke altered states — J. Hoberman, Everything Is Now: The 1960s New York…, 1045; The networked audience differs from broadcast audiences in enabling active participation — Alice E. Marwick, Status Update: Celebrity, Publicity,…, 593

Related

• The Responsive Eye show turned museum viewing into a participatory physical spectacle (similarity 0.83)
• Gallery concerts deliberately fused art, technology, and audience to provoke altered states (similarity 0.82)

Broader Connections

• The Responsive Eye show turned museum viewing into a participatory physical spectacle #corroborates (0.85) — J. Hoberman, Everything Is Now, 696
• Gallery concerts deliberately fused art, technology, and audience to provoke altered states #corroborates (0.75) — J. Hoberman, Everything Is Now, 1045
• The networked audience differs from broadcast audiences in enabling active participation #expands (0.72) — Alice E. Marwick, Status Update, 593