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Figure 1 | Figure 1 | ||
The stages of VR space are divided into three levels: Weltraum, and Governance, and these stages each express themselves through the process of ontological resemblance to these three images: tilted floor, and ship. Unlike the partial collision or overlapping of the three media (reality, VR and sculpture) these three stages flow as temporal environments embracing the audience, and passing over time, the story of each stage switches to the next one, as if the Act 2 of the show comes after Act 1. As if winter appears after spring, summer and autumn. | |||
When a spectator enters the very first place of VR, an abstracted representation of the real space, a female voice suddenly recites a part of a poem about love and absence. The representation of the place is not exactly the same but has the same scale of the place and is given precisely the same localization of body of both real and virtual spaces in the euclidean coordinate system. During the recitation, the spectator focuses on the meaning of the poem and at the same time roams around the abstracted representation of the place, the ocular sensation and tactile perception slowly collide with each other by the tilting of the virtually, electronically generated floor and stationary aspect of floor in the real place, which are sharing the sense of gravity. The subject of the remaining audio-visual sensation, then, is soaked into the transitional space and the next public place, which contains the collective trauma of the Korean people in 2014. | When a spectator enters the very first place of VR, an abstracted representation of the real space, a female voice suddenly recites a part of a poem about love and absence. The representation of the place is not exactly the same but has the same scale of the place and is given precisely the same localization of body of both real and virtual spaces in the euclidean coordinate system. During the recitation, the spectator focuses on the meaning of the poem and at the same time roams around the abstracted representation of the place, the ocular sensation and tactile perception slowly collide with each other by the tilting of the virtually, electronically generated floor and stationary aspect of floor in the real place, which are sharing the sense of gravity. The subject of the remaining audio-visual sensation, then, is soaked into the transitional space and the next public place, which contains the collective trauma of the Korean people in 2014. | ||