Re: [-empyre-] affect in digital writing

Our recent work One River (running), coming out of our Computational Poetics research project, involves a gallery with a "river" of 32 screens suspended in space, each of which can carry a discrete projection. The "river" rises in an arch in the middle of the room, inviting the gallery visitors to enter and experience the work from a variety of perspectives. The screens work effectively as front and rear projection surfaces. A 13-channel audio system diffuses soundscape material and a set of eight channels of audio run above the "river" with the voices of the community flowing from end to end. The whole effect is large, somewhat cinematic, but in an expanded spatial sense in that the two-dimensional quality of the projection surface is broken up like so many droplets of water in a rushing river to become a sculptural presence in the room. The work has just gone up for exhibition and the initial experiences of people suggest it works very well as an image of community that involves the visitor in the space and time of the work. I think much of this has to do with the scale of the work and its temporal dimensions as well. It's not a "one-liner" as Jim Campbell terms many interactive installation works, but rather a kind of spatially expanded cinema that has a mutable form over its 17 minute cycle. It "writes" large with the voices and mouths of the community in which it's installed.


On 30-Oct-05, at 7:03 AM, Jim Andrews wrote:

One of the things I
think about is largescale projection -- putting the audience in
the story.
Would this produce a higher level of affectivity? Anyone know?

I didn't experience this piece, but Rafael Lozano Hemmer's piece "Re:Positioning Fear" involves large-scale projections:

His other projects in "relational architecture" at
are also worth a look concerning large-scale stuff in digital art.


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