Federico Díaz, Spin



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duralumin, aluminum, steel, synthetic materials, ‘Barrisol’ polyamide sheet, acoustic absorbent boards and others, software: TDI, Explore, Alias Wavefront, Dynamition, Composer, hardware: Onyx, Realityengine, Silicon Graphics computer system, components: interface for monitoring the movement of the eye, analogue‐digital voice converter, 2 LCD projectors, 16 broadband speakers, 4 low frequency speakers, DCA amplifiers, 1 Bose‐Canonwave, 1 1800 W amplifier, 900 x 400 x 400 cm


Orbis Fictus, National Gallery Prague, Waldstein Riding School, Prague, Czech Republic, 1995


Milan Guštar, Ludvík Hlaváček


Spin, named after the unit of motion of elementary particles, develops Dehibernation I and II. The installation consists of an acoustic mirror echoing all the sounds resulting from the visitor’s passage and the sound then literally follows the visitor. The space of echoes is created as an acoustically ‟dead room” so as to create ideal conditions. Therefore, it is an acoustically neutral environment which absorbs all the surrounding undesirable sound interference. The installation follows the visitor’s movement and continuously reacts with holophonic, thus spatial sound system. The tiniest movement, not only in the space but also when holding a position – for example when the visitor turns his head – is reflected by the system which responds to the visitor directly. The installation is completed with a visual component in the form of projection called High Energy Collision. The same as in the case of the sound the projection is generated on the basis of input data acquired through observing the visitor. The visitor becomes the creator of the actual form of artwork. The artist’s contribution is evident in the creation and programming of input parameters but the actual formations are the result of visitor’s interaction with the work of art.