Abstract

This practice-led research questions what more a participatory work might be able to do beyond prescriptive and linear forms of interactivity in art events. The research develops practical applications of Michel Serres’ concept of the ‘parasite’, the inherent noise that disrupts and multiplies within relation. The possibility of self production and modulation in a participatory event and the potential of intensive disruption as a driver of creativity within the events are the basis for this investigation of models of art that can incorporate a range of environmental forces to generate an ecological set of relations where viewers, art objects and surroundings generate new and shared potentials.