Digital Culture & AudioVisual Challenges

The installation, “AMBIENCE”, sets a space of spatial levels extended via the usage of audiovisual technologies. It allows spectators to move, influencing their sensory and spatial experience, which constructs their perception of reality, of their “selves” and their “personas” in parallel spacetimes. The impetus of connectivity of the self is the realization of their water embodiment and in a more broadened view, the continuous search between self and persona.
I am in favour of Astrida Neimanis’ claim for the water embodiment of existences. Body, and senses are environment of water and therefore an environment of diversity, indicating a different, flexible way of living and being simultaneous. This nurtures respect, understanding, interactivity, connectivity, and influences corresponding reactions either internally or externally in a chain reaction. Water as a paradigm is the impetus of this chain reaction to evolution. What sociologist Jean Baudrillard describes as completely self-referential is this social performativity in “Simulacra and Simulation”. He also argues that symbols and signs have relations to contemporaneity (simultaneous existences). That said, “AMBIENCE” is this “place” of simultaneous ambiences which influences different perspectives and is influenced by spectators’ movement in a bidirectional manner. Moreover, such an environment consists of a plethora of places, conditions, memories, emotional imprints, and atmospheres synchronously as an array of stimuli capable of activating the infinite process of “becoming”. This abundance of perspectives raises awareness for the interconnection between both “self” and nature and the illusory relationship between “self”, “persona” and the past - present - future. In the case of Plato's "Cave", it is the observer’s perspective that shapes their reality. Therefore, in “AMBIENCE”, projections of shadows and lights, the viewers’ reflection on mirrors and the transparencies set the façade or/and the reality of human presence, actions, experiences into its configuration.

Its dimensions are variable, which is part of its interactivity, since the installation will be a completely unique environment of action, provoking new interactions in a different space. A vertical level of a mirror film parallel to the vertical sides of the space divides the original space into two ones implementing the fourth dimension, this instantaneous and constantly changing time. There are five slits on the mirror making it passable. Despite the partition, these spaces connect and communicate according to the French philosopher Deleuze, as seen in Foucault's "diagram", which depicts the process of thought. This film becomes a mirror only on the illuminated side. Thus, viewers can see through, or/and themselves. Three projection mappings constantly transform the imagery and sound of the scape. Not only does this enhance the cohesion between inside and outside but also, the physical and digital, the self and the persona. According to Richard Coney, digital technologies adjust movement into spaces and therefore spatial experiences. Essentially, existence shapes its evolution, its transformation in space and time with visible and invisible “becoming”. There is a camera connected to a computer that captures live video of the “backside”. The camera runs an object detection algorithm that measures and monitors moving objects as part of open-source technology for quantitative. Such data alter the soundscape and transmit live black and white video on the one mirror side.

In the end, and ideally, the viewers realize that present is every moment dt, as the reflections on them passerby. This ever-changing space-time installation presents a constant reevaluation of the "self" in relation to the “persona” and thus, the realization of water embodiment. It focuses on the experience of human perception to test and expand its limits. The core of this artwork is the redefinition of the concept of space as a multi-faceted environment, a multi-ambience, which includes the viewer in a set of relationships. It is of utmost importance the influence that spect-actors draw in the final configuration of the experience. The essence and success will be to realize oneself and others as simultaneous atmospheres in the present, eliminating egotism. Light alludes the dualism when one faces the present time as a future that can pass and became their past. Yet, the present moment determines the relations between art and spect-actor, who as they move, discover the constant fluidity of the work and their selves.