CONNECTING WITH OBSERVERS, CONNECTING WITH SELF: SYMBOLIC INTERACTIONISM AND INSTALLATION ART.

This paper presents findings related to symbolic interactionism in the development and interpretation of art installations. It stems from three projects created by the first author: "Attrition," "Contrition," and "Babel Amidst an Arising." This paper looks at symbolic interactionism as a proactive tool used by the artist first to engage the observer; second to construct an environment that communicates through shared meanings and societal experiences; and third to shape future decisions made by the observers. Initially inspired by glass resurfacing in a landfill near the Murano Glassworks in Venice, the installations grapple with questions surrounding decisions we make each day related to our fate and that of our planet. Intermingled religious symbols and references are used throughout all three installations. In "Attrition" Koranic names for Allah adorn forms rising from a symbolic landfill to a mandala-like canopy emblazoned with Old Testament names for God. Visual references are made to the rainbow, sign of the God's covenant with Man. In "Contrition" ex voto figures rise from a symbolic landfill bearing images of personal loss. In "Babel Amidst an Arising" a cacophony of multi-lingual voices and discordant ambient sounds rise from seemingly tranquil video images. This paper also explores the use of symbolic interactionism theory as a tool to address the development and interpretation of design concepts. In early design studios it was noted that students often found it difficult to uncover and understand design inspirations; so the second author constructed exercises to help them explore underlying meanings in art, specifically in two of the installations being considered here: "Attrition" and "Contrition." Their interpretations of these installations were discussed from a perspective of symbolic interactionism, specifically in light of the societal issues addressed. Subsequently, students reported an increased awareness of underlying meanings. They became more aware of the effects of symbolic interactionism in their lives. Significantly, the artist also is an observer; so the cyclical nature of symbolic interactionism is duly noted here. [ABSTRACT FROM AUTHOR]