RE: [-empyre-] critical fusion
In "World Skin", for example, users wearing goggles traverse a 3-D
war zone. They are presented with the option of capturing stills with
hand held cameras that subsequently (if I remember correctly) leave a
'hole' or 'tear' in the 3-D panorama while transferring the image to
a printer outside the installation itself. So I'm curious to hear
more about how you understand your invitation to the viewer/user to
interact with this piece.
I would like to reply both remarks/question
I'm very interested in your notion of "critical fusion" as something
that refers metaphorically referring to the atom (critical mass +
atom fusion) as something close to explosion, producing the maximum
of energy-. It might be argued by many that such critical fusion is
inherent in art, as something naturally explosive, like the atom,
waiting to be unleashed.
Critical Fusion as a concept belongs mostly to the physical space, the so
called "real world", the one that is not built initially with symbolic
purposes. What I call in French "Fusion critique" (not so different...) is
about entering the social, physical, architectural space with some insider
symbolic inputs that make it more understandable, that help deciphering it,
unveiling undercover aspects of our daily life (as far as we can:-). Let say
it is the opposite of framed art, set inside galleries, inside museums,
boxes: preserved inside boxes, inside boxes close to the confining envelope
on Chernobyl reactor (tribute to Alice) attempting to limit the impact of
art confining it in the sphere of exquisite and delicate mental disorders.
But my familiarity with your interactive environments suggests that
you have something even more active in mind, contingent not simply on
natural artistic forces but on the relation of critical thought to
artistic experience. Would you mind saying a bit more about this?
I'm not sure about which works you are thinking.
I think this apply to different kind of works (World Skin and Crossing Talks
on one side and The Mechanics of Emotions on the other for very different
reasons. Could you please be more specific and I will develop instead of
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Professor of Comparative Literature and English
Director of Graduate Studies in Film and Video Studies
Curator, The Rose Goldsen Archive of New Media Art, Cornell Library
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