mainly for establishing a ‘linguistically neutral’ identity
for the work where I was trying to reflect to rather abstract
notions as Endoperspective, Ultraperspective, Cross-Modal Association,
Artificial Synaesthesia, and finally - Mirror World hypothesis.
The ‘pictogram’ might
be treated (experienced) like a visual ‘entry’ or ‘key’,
to the illusory, audiovisual spaces.
spatial unit can have it's (not necessary directly symmetric)
'mirror' in many 'dimensions'.
main concept for the realization of these ideas in a artistic
form is establishing a imaginary ‘unit’ of visual,
audio, space, movement, time and context information – similarly
to ‘pixel’ in 2D digital images, ‘voxel’ in
3D computer environments and ‘notation chord’ in
music scores. These new ‘units’ or ‘particles’ then ‘live’ in
diverse ‘formal’ and ‘content’ formations.
The ‘subjective’ aspect here is significant, as
the proposed work is not a consequent illustration of any specific
scientific theory (although is inspired by some concepts from
contemporary theoretical physics e.g. quant and super-string
theories), but rather an esthetic experiment with possible
perceptional paradoxes through deliberate and ‘random’ crossing
of sensory pathways.
on how to combine ‘passive’ and ‘active’ audience
participation, I chose to create a ‘2-faced’ artwork: ‘an
interactive installation’ – ‘a toy’ where
public can play with some features for a game-like experience,
and the ‘staged’/‘up-scaled’ version,
where the author(s) improvise with the material in an ‘expert
programmed structures in the presented work generates ‘quantified’ sequences
of elements in fluctuating, swinging manner, so that the above
mentioned ‘threshold’ is passed several times
in one minute, throughout the whole performance piece.
phenomenon of human perception that it tends to inter-relate
elements with something that is familiar (or identifiable),
plays a crucial role here.