At this stage in my inquiry into the relationship between the role of the machine and the lived-in space of the spectator, I decided, after many mechanical and conceptual complications, to eliminate 'interactivity', so the spectator had no effect on the piece. The role of the computer in this version was merely to determine the pacing of sending a pre-determined sequence of elements and related sounds to the screen. Upon encountering the studio a viewer first heard the ambient sounds and voices, saw a white cube with cables trailing from it, and a dark line around the three walls of the space. As the viewer entered the space they saw a monitor without casing within the open, three walled cube. The cube was a miniature of the actual studio space. Most viewers then watched a cast of characters animate on-screen in slightly varying time sequences, their voices overlapping differently each time. Then viewers noticed the text around the walls (which is the same original text used in LimboBound, documented under 'Early Experiments'). Upon returning to the action in the monitor viewers would then notice that the same line of text was on the walls of the cubicle replica, as well as on the walls of the space within the monitor. This version of the work was my simplified exploration of echoes in spaces of re-enactment.
Room dimensions: 10'x10';
Computer: Mac 8100, System 7.6.3;
Software: Director 6.0;
Monitor: 13" Screen, on a 3'6" high base.
by debrah malater
School of Visual Arts
Graduate Computer Art
Class of 1998
Carolee Schneemann, Thesis Advisor
Ken Feingold, Thesis Group Leader