The title

The ‘visual title serves 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.

Every spatial unit can have it's (not necessary directly symmetric) 'mirror' in many 'dimensions'.

The 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.

The format

Thinking 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 way’.

The 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.

The phenomenon of human perception that it tends to inter-relate elements with something that is familiar (or identifiable), plays a crucial role here.