Exp. 161218 : projections
This small experiment has been about projecting images on part of the installation and observe how it works or not. In principle here we have a case of mixing a real-time physical installation with an augmented video projection.
The latter can be seen as ‘projected time‘ as the video brings in another timescale, both by its playback speed and by its actual moment of recording. Here I see two domains, the real and the virtual, crossing again. The question is what it does with the actual experience for the observer?
So, therefore I decided not to show video recordings of the experience, but some pictures, as it became really clear to me that being in the room with this set gives a rather different experience altogether. Furthermore I experimented with the sound layers as well.
Picture 1 till 5 show that a more integrated work originates from:
- recognisable video imagery is wished for
- dark imagery feels ‘artificial’ here and is problematic for seeing the real objects in the cans (idea: led-light inside?)
- video mapping is integrated with the installation surfaces rather than the merely the surroundings (as in fig. 1)
- similar timings make a better kind of connection
- video needs to fit in tone
- mapped video gives interesting (distorted) details
- connection between ‘video’ object and real object is recognisable
- interesting shadow play
- exchange of visual domains may be beneficial for the expression, note that this requires good editing
- sound production of video can add tremendous value to the actual produced sound
- when installation is static and motion comes only from the projection, something vital is lost
In conclusion of this experiment I would say that a projection on the installation firstly is not needed, but when the video is carefully made and well mapped, it brings an extra layer to the work. It brings together two behaviours of time and their according actions, which are nowadays so intermingled: the real and the virtual, or the present now and the projected once.
However, we might also consider the power of a real-time projection of the work on the work. This live aspect might be playing with the idea of making the motion extra emphasised again.
Furthermore, the role of the sound of the video should be well integrated in the design of the installation. It stands or falls with the actual spatial sound performance of the set.