The materiality - matches the rooms salt and pepper carpet
The installation is staged as an encounter, evoke to the role of cinema in culture
Dark - disorientating, scale and you have to use the
The original rivets have morphed and now take on the vague organisation of a constellation. A white light is positioned so that rotating the object means their metallic surface catches glints at certain moments.
3 lights
The experience of the installation offers a. Visitors are led to the dubbing suite through the labryinthe corridoors of the building. The conditions upon entering are very dark. The structure is mad from tar paper, the smell of which fills the air. The texture of this tar paper, with its layer of bitumen and fibreglass mirrors the black specked carpet tiles as well as the stippled fabric which renders the acoustic wall panelling. It looks liek it could have emerged out of the floor in the same way as when an object is vac formed. The original had hand made tar paper, now its unitised and mass produced, worth pointing out. It also looks like a render sheet or texture tile for a digital render stock, often used when pirating. When swivelled, the reconstruction functions in the same way as a radio dial. The building acts as a dial which, when rotated, can be used as an interface through which to scroll through sounds.
giving it a voice. it becomes a
the light conditions of the room are used as a way of further linking the object and the room, tieing them together, as you have to use the object to scan the room
object used to navigate and scan the room and its history
mark cousins vibe
swivelling the object also adds another . the dark conditions mean the only way of really navigating or scanning the room is to swivel the red window. doing so illuminates details, the ink black speakers which line the wall surrounding you, the disrupted curtain revealing behind the white screen, a wall panel which has had its cover removed, revealing the constractor who fitted it’s handwriting.
there is no signs of technology, sensors or cables which suggest this is an operation being automated by a piece of technology. Indeed, the causality of the interface feels distinctly “too human to be technology” The dissonance or disconnect here mirros the sense of magic
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