martin
bonadeo |
work in progress | bio | exhibitions | images | contact | |
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| optical body group project developed with Rob Henderson & Vids Samanta multisensorialinteractive installation prototype shown at the hypermedia studio UCLA los angeles 2004 |
| description | abstract | concept and references | “From
Renaissance monocular perspective to modern cinema, from Kepler’s
camera obscura to nineteenth-century camera lucida the body has to
remain still.” Upon
entering the space the visitor will see one out of focus 10”x20”
image projected on the screen at the far end of the space; one 10”x20”
image projected on the floor in front of the same wall; and hear a
tone reminiscent of wind. As the visitor moves into the room the images
will enlarge, and after several steps the images will enlarge to the
full size of the screen and the area of the floor. Understanding that
their movement is controlling the images, the visitor may choose to
continue to move towards the screen. Moving past the point of full
size, the first visitor sees the images coming into focus. Before
the first visitor brings the images into focus a second visitor enters
the space. The images are now partitioned into two, and the first
visitor can see the effect of his movement in the clarity of the right
partition of the images. The partitioning of the images is joined
by a second wind tone. The two visitors may choose to engage one another
to bring clarity to the images, and as they begin to work together
a third visitor enters the room. A third wind tone and three-way partitioning
of the images accompanies the arrival of the third visitor. “The
recent technology of the digital computer made real by a much older
technology--the screen, a flat, rectangular surface positioned at
some distance from the eyes--that the user experiences the illusion
of navigating through virtual spaces, of being physically present
somewhere else.” Until the advent of interaction, the moment of surprise or wonder that is Art has been limited to a perceptual/intellectual involvement. The advantage of interactive installations over other types of art (eg. a painting on the wall; the sculpture in the garden; or a static installation) is the degree of involvement of the physical body. Within this framework, the spectator becomes actor. We want to convey this simple notion by giving the visitor a specific visual and auditory response to his/her position in a space. And as more visitors enter the space of the installation this response becomes differential and specific in proportion to the number of visitors and their location. The development of perspective in the Renaissance was not only a technical innovation, it instantiated themes such as the importance of sight, the privileging of particular points of view, the disregard of other senses and a faith in the ability to organize and dominate space (Stephen Wilson, “Information Arts,” MIT Press, 2002). The black
box of the interactive installation could be the next version of the
picture plane and horizon line of Renaissance perspective construction.
The structuring geometry is similar, but the viewer is moved to a
new position in the construction. This position is no longer singular,
fixed nor stable. Through the use of images of the American landscape
we attempt to bring this understanding into an uncomplicated project
of interactive image construction. In a contemporary context one must
consider John Cage’s ideas of audience participation and interaction.
Determining the amount of control a visitor might perceive is implicit
in the construction of any interaction. For us, the aesthetic framing
of the piece is tightly constrained, but the precision with which
a visitor is able to construct the images gives a critical sense of
control. >Requirements >Hardware/Software >Media >Narrative To know more about works in progress please contact me at martin@martinbonadeo.com.ar |
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