Re: [-empyre-] space, time and narrative

["Melinda Rackham" <melinda@unsw.edu.au>]

steve wrote:
>Many works shown (mine included) use color as a
>"lure". In this sense, would it be appropriate to call
>color a component of time?

yes it is.. its a continuim .. colour sound space time..don't exist in
separate axes.. or dimensions. if we work in 3d space  (or 9 or 99 as was
spoken about earlier), say colour has a  value in x y and z.. they are all
points and as points are never really fixed.. but  have vectors eminating
from them on each axis.. so each  colour, or  space or time slice, or
whatever.. is part of the other dimensions.. i was looking at toms webtracer
work http://www.nullpointer.co.uk/-/webtracer.htm i imagine a colour value
coudl look like one of these traces.. with links into other ajoining colours
spaces times..

>As for constructs of game theory and scripted space,
>both apply - but sometimes they leave me with an
>uneasy feeling that I am simply building a maze and
>treating the visitor as a mouse moving through it. All
>for the purpose of my conceptual cheese.

gorgonzola? you are the maze builder.... but any artist does that.. a
painter knows which way to move your eye across a canvas with colur texture
and rhythm.. that might do it "intuitavely" but they are using aprogramming
language when they construct a painting..

you as artist are also sometimes the user in your own world.. and  the user
is never free , they may have lots and lots and lots of choices.. as we
exist in computer constructed space, in fact in all space one coudl
suggest, in a finity..it might be an infinite finity, but the  parameter set
is still [-infinity, infinity]..

to look at anoth arean where the artist /author has  ultimate power..and
none at all..who says that people use books ie read then in the manner in
which they were wirtten.. i often skimm and scan and quote books myself,, i
have never read "1000 Plateaus"cover to cover.. but i cant get more
information than is in the book.. one book is limited..

 i like to think about the structure of the vrml langhuage itself and noice
the values which get assigned to everything.. there is a gegraphic limit
liek the valleys which contain tribes which simon mentioned , a time limit,
a processor limit, a pitch limit.., . You as author do set gravity, do set
collision , do set sensors and triggers , anchors, do set horizons, do
controll what the user sees at a time and distance by Billboarding and
LevelOfDeatils , etc, so you do set the physics of the world..

we make life worlds for avatars.. so we shoudld be generous and inventive in
our architecture as they deserve to have a nice place to play ..:)

gregorie wrote:

> I think in a certain way WE (the one who create the
> interactive work AND the
> spectActor) are "modelling" time...

 couldn't agree more.. see my other post about the rhythm of 3d sapce....
its a co-operative thing, where we simulatneously have all control and none,
and the spacing, regulatity, colour, etc make time.. make emotion, make
corporeal experience.

no one has said anything about sound in this senario.. which is crucial in
time production..

melinda