For the floor projection the technique originally conceived for the Ars Electronica installation was implemented, with the viewer observing a live feed video of what could be seen directly through the floor to the entrance of the gallery, so also linking the upper and lower spaces of the gallery in real time and developing the theme of the observer emerging into and being within the space at the same time. Fig.19 Nathan Cohen: Spaces’ installation view, Aisho Miura Arts Tokyo 2010 – ‘Intangible The artworks included both wall and based RPT constructions that required interaction on the part of the viewer to fully observe their pictorial potential, for while the installation could be viewed as images that interacted with the architecture of the gallery space to create the illusion of three dimensional structures, when the projections were also seen through the RPT projectors an alternative reading of the space within the artworks was enabled. The intention was also to challenge pictorial convention in the way the artworks were located in space, utilizing the corner of the room and floor, locations not usually associated with the display of pictorial images. Fig.20 Nathan Cohen: Spaces’ installation view, Aisho Miura Arts Tokyo 2010: – ‘Intangible wall and floor installations with projections Fig.21 Nathan Cohen: Spaces’ installation view, Aisho Miura Arts Tokyo 2010: – ‘Intangible floor projection showing live video of view as would be seen though floor We are familiar with looking into an imaginary space, and developments in immersive technologies have sought to place the viewer in ever closer proximity to the action. A third artwork displayed in the Tokyo exhibition develops the idea of locating the viewer within the space of the artwork itself and utilizes an approach to visual invention which could only be achieved using the computer. Fig.22 Nathan Cohen: Spaces’, Tokyo projectors and interactive video set up – ‘Intangible As the visitor to the exhibition climbed the stairs to the installation located on the second floor their progress was being recorded by a small video camera. A short time lapse of the resulting video image was combined with isolating the visitor’s image from the background and a moving video sequence I had made of the art installation itself. The result was a video projection, which the visitor could view as they reached the top of the stairs, of themselves into’ and located within the artwork they would not yet have seen. This formed the ‘climbing start of the interactive process of viewing the art installations.
For the floor projection the technique originally conceived for the Ars Electronica installation was implemented, with the viewer observing a live feed video of what could be seen directly through the floor to the entrance of the gallery, so also linking the upper and lower spaces of the gallery in real time and developing the theme of the observer emerging into and being within the space at the same time. Fig.19 – Nathan Cohen: ‘Intangible Spaces’ installation view, Aisho Miura Arts Tokyo 2010 The artworks included both wall and based RPT constructions that required interaction on the part of the viewer to fully observe their pictorial potential, for while the installation could be viewed as images that interacted with the architecture of the gallery space to create the illusion of three dimensional structures, when the projections were also seen through the RPT projectors an alternative reading of the space within the artworks was enabled. The intention was also to challenge pictorial convention in the way the artworks were located in space, utilizing the corner of the room and floor, locations not usually associated with the display of pictorial images. Fig.20 – Nathan Cohen: ‘Intangible Spaces’ installation view, Aisho Miura Arts Tokyo 2010: wall and floor installations with projections Fig.21 – Nathan Cohen: ‘Intangible Spaces’ installation view, Aisho Miura Arts Tokyo 2010: floor projection showing live video of view as would be seen though floor We are familiar with looking into an imaginary space, and developments in immersive technologies have sought to place the viewer in ever closer proximity to the action. A third artwork displayed in the Tokyo exhibition develops the idea of locating the viewer within the space of the artwork itself and utilizes an approach to visual invention which could only be achieved using the computer. Fig.22 – Nathan Cohen: ‘Intangible Spaces’, Tokyo projectors and interactive video set up As the visitor to the exhibition climbed the stairs to the installation located on the second floor their progress was being recorded by a small video camera. A short time lapse of the resulting video image was combined with isolating the visitor’s image from the background and a moving video sequence I had made of the art installation itself. The result was a video projection, which the visitor could view as they reached the top of the stairs, of themselves ‘climbing into’ and located within the artwork they would not yet have seen. This formed the start of the interactive process of viewing the art installations.
Interalia%20Magazine%20Nathan%20Cohen%20article%20March%202016.docx