With an interactive work we are always inside, even when it is the outside that is represented. The horizon line transforms places into surfaces, in a sense, mapping a limited square or panoramic view, while the inside is filled with three-dimensional shapes which define the textures and organization of space.
This project raises a number of questions in relation to notions of participation and perspective. The perspecitve through which the player experiences the game is an egocentric one, but the immersion of the subject within the game intensifies the historical specificity of both. Are we situated at the center of interactive game in the same way that we are firmly sitated in this egocentric perspective?
Full Description
With an interactive work we are always inside, even when it is the outside that is represented. The horizon line transforms places into surfaces, in a sense, mapping a limited square or panoramic view, while the inside is filled with three-dimensional shapes which define the textures and organization of space.
This project raises a number of questions in relation to notions of participation and perspective. The perspecitve through which the player experiences the game is an egocentric one, but the immersion of the subject within the game intensifies the historical specificity of both. Are we situated at the center of interactive game in the same way that we are firmly sitated in this egocentric perspective?
Work metadata
- Year Created: 2003
- Submitted to ArtBase: Tuesday Jun 10th, 2003
- Original Url: http://dislocat.io-n.net/de_perspectiva_octangulus/
- Permalink: http://dislocat.io-n.net/de_perspectiva_octangulus/
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Work Credits:
- Gregory Chatonsky, creator
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