‘Neo-baroque I.’ was a 8 minutes two-channel video-projection on the ceiling of the Csokonai Theater’s staircase.
The projection was made for especially this location, and it was a part of the Lighthouse ‘ON’ sight specific group exhibition. (The exhibition ‘ON’ presents works by artists of Lighthouse light-art society at an unusual location by utilizing the special atmosphere of Csokonai Theater in Debrecen, Hungary and turning it into an impromptu art gallery: https://lighthouse.art/)
This is the full-length documentation, rendered in VR/360 mono format.
Time-stamps:
00:00 – 01:58
Some fractal based space-filling algorithms fills the space equally and symmetrically in every direction – the ‘journey’ starts from ‘realism’. Synchro-act’ issues. (this part made with mandelbulb3d)
00:02 – 04:48
– ‘Traveling without moving’ – the time factor has arrived, but the motions are illusory since there no place to go. We were left in the origin, only the world travels around us. Positive-negative spaces crossing each other, while some lights scanning/examining them. (Signed distance fields algorithm, made with Notch)
04:50 – 05:27
– ‘Di-vision’ or you could say – the limited, separated views caused this. The space is melting and then separated into two in a repeated way, day by day, like everyday.
05:28 – 06:21
– The space plays itself – ‘Game of Life’ like algorithms – Space – self-checking, some reflects in a Cartesian space.
06:22 – 07:28
– ‘Conceptual heaven’ – eternity is just a mental construction – the inner turbulence fields became so complex that it seams like an ancient baroque space-filler. In order to emphasize the effect some cloud-like turbulence were added behind, and the sky color is the ‘video-empty’ technical blue color (R:0,G:0,B:255). Conceptually empty, but rich in appearance. (‘There are nothing but appears as everything’)
07:29 – 08:02
– ‘Dissolve’ scene – a kind of a classic ending – everything dissolves back to space (in a clockwise direction – should be in counterclockwise), there were nothing, but through the conditions it appeared as everything.
The creative process was almost a seemingly unconscious process, which is dangerous because then subconscious patterns can take control and the end result will be cliché-like.
Thus, this work is also a summary of the experience (clichés) of the last ten years in the field of video mapping.
I hope that with the fact that abstract video has got a classic story arch, it also reflects today’s post-Baroque (post-truth, post-internet) era.
