Content Description
Thinking on how to combine ‘passive’ and ‘active’ audience participation, I chose to create a ‘2-faced’ artwork: a) ‘an interactive installation’ – ‘a toy’ where public can play with some features for a game-like experience, and b) the ‘up-scaled’ version, where the author(s) improvise with the material in an ‘expert way’ on the stage.
The senes through the stereocopic (3D) projection and the surrounding (3D/XYZ) sound create experience of extreme density and saturation of multi-layered spatial ambience. Images and sounds range from hyper-geometric ('animated suprematism') to organic photographic/filmic reality, shifting from morphing sculpture to 'animated cubism', 'dyno-collage' landscape.
The featured hybrid 'audiovisual molecules' collide, mutate, join, morph into each other. The new clusters open new micro-perspectives (spatial gateways). Some objects dissaper from visual- and transpose into aural representation (and vice versa).
The interactivity is a 'dialogue' between 'micro-ecological' system (algorythmic simulation) and oberver's navigation and input device gestures. It resembles 'virtual surgery' through 'the tissues' of this hybride reality.
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Background:
The utopia of ‘visionaries’ centuries ago is becoming an industrial trend today – to let the code organize (control) the ‘hidden reality’ to the degree that it is becoming almost a tangible ‘matter’.
Every day avareness of myself being wrapped in a of visible and invisible reality fabric, every nanonmilimeter of air is full of chemical reactions, 'cellular radiation', digital modelling and traces of past processes.
I was trying also to reflect to rather abstract notions as Endoperspective, Ultraperspective, Cross-Modal Association, Artificial Synaesthesia, and finally - Mirror World hypothesis.
(more: on the project's URL: http://+.x-i.net
or http://plus.x-i.net )