Having created my own work using hypermedia as a structuring system the question now remains of what I have learnt from and about my process as an artist utilizing hypertextual principles? Although for the most part there was a conscious action to continually relate the work being created to the research I was undertaking in relation to hypertext theories, I was also able to discover new ideas and thoughts quite naturally as they emerged out of my learning curve with the technology. Bolt comments on this idea,
In the "work" of art, we do not consciously seek the "new" but rather are open to what emerges in the interaction with the materials and processes of practice. Immanuel "http://www.griffith.edu.au/school/art/text/speciss/issue3/bolt.htm#Lev1"Levinas notes that through these material dealings 'we gain access to the world in an original and an originary way (Levinas 1996 in Bolt 2004)
I would agree with this statement and would also say that the most original results that sprang from the work came through the participants handling of the installation. Through the interaction of others I was able to move past my own response to the art and to the ideas of hypertext. From this point I was able to realise Barthess notion that the artist has no privileged view and that I as the author am just one more reader, just one more interpreter.
The steepest learning curve during my process occurred during the actual performance of Knowhere? Due to the unpredictability held by such elements as the interactivity and non-linearity, no amount of organisation could prepare me for the changes that occurred to the installation in performance, a daunting but also highly exciting prospect. The interactions of the audience also revealed parts of the work which were not fully realised. In retrospect the nature of the performance from the majority of participants seemed somewhat predictable. It was my assumption that as the installation progressed, the range of performances that took place would become more explorational and challenging. The option was there not only to discover the capabilities of the grid through the haptic senses of the feet, but through the entire surface of the body. Having posed words such as engage, explore and experience to the audience both in the quotes which appeared on the grid squares and also in the brief programme notes supplied on entry the conjecture was that this would be taken to more of an extreme. The challenge, now that I have this information, would be to discover how to take the performer out of merely stepping between grid squares in a tentative manner, very aware of their new status of performer into the realm of non-pedestrian and more physical movements.