The Mountain Vista

From Andy Fedak
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“The Mountain View” - is a site specific virtual reality installation experience that explores the movement of consciousness between three distinct entities utilizing photogrammetry (triangulation of multiple images to create a digital version of a space), editorial, narrative suture, and sound.


Below is an animatic of the site specific virtual reality installation, "The Mountain View", in the final version of this experience you will be able to look around the space and even move your head around in a 3 foot by 3 foot by 2 foot voxel (while seated). While this animatic is illustrated, the final version will be photorealistic, digitized from the gallery and surrounding area. The dog will be digitally constructed, rigged, and animated - and will be also photo-real.


While the lexicon of virtual reality has begun as a hybrid of the classic techniques of video, 3d animation, and reality itself (including all forms of fine art), these modes have been turned inside out: what worked correctly before, have become estranged, and differ in their classic impact.  

For example, the common edit (to cut from one shot to another), used at whim in contemporary cinema, in virtual reality can cause intense nausea and vomiting if not applied properly.  In essence we hold the viewer’s consciousness in our hands; when we cut between one space to another you are literally moving one’s mind at the speed of light to its next locale.  If done at the pace of contemporary cultural norms this would cause immediate vomiting, but with the proper techniques (like site specific virtual cues and “reality hinges”) this can be incredibly evocative and powerful, while still comfortable as well.


Thus the site specific installation, becomes a hinge between the virtual world and reality.  Unlike in cinema where the installation wraps around the viewing apparatus (TV or Screen), in the virtual world a matching virtual reality space sets a ground from which the work can elaborate upon.  Again, a sensitivity to the viewer’s consciousness will enable a calming entry into the virtual domain, while also allowing for solid footing for a higher ascent.


Once we are in this augmented space, narrative suture, cinema’s most potent tool, hypnotizes the viewer.  The first person perspective of virtual reality then becomes a perfect surgical space of creativity and exploration of consciousness.  What if we took the viewer and made them a dog, and perhaps that dog was visited by god, and then we made the dog, god?  (I know that this is as clear as mud - please watch the attached video animatic of the experience to better understand what I’m going for.)


Finally, sound, like narrative suture, allows the viewer to be manipulated unawares, but while the narrative cocoons the conscious mind, sound influences the depths of the un-conscious mind.  Without words to get in the way, feelings and emotions are manipulated directly, from distinct diegetic sonic moments which tighten the narrative suture, to more abstract and instinctual sonic textures that push the tone of the work into spaces indescribable.