»Tür für Huxley« 
Light Box
Light Box
© Götz Schrage; Tür für Huxley, 1989
Interactive computer video installation
Video projection with sensor-controlled computer animation, videotape, two live cameras, real door, B&W monitor, art reproduction, sensor-controlled sound
Keywords
Information
Technology
Hardware
Video projector, videotape, two cameras, B&W monitor, sensorsMaterial
Video projection with sensor-controlled computer animation, videotape, two live cameras, real door, B&W monitor, art reproduction, sensor-controlled sound
Descriptions & Essays
Ruth Schnell 25-09-2021
Interactive computer video installation
Three doors of the environment 'Tür für Huxley' ('Door for Huxley') simulate the entrance to different realities. The observer has the choice between pure observance of a conserved and continuosly repeating image reality; entrance into illusory spaces through a projected door, which is controlled by a sensor; or, finally, the role of a voyeur. The left projected door is half open and showcases a space of action consisting of artificially distorted staircase and door sequences from films directed by Hitchcock and Siodmak. When the observer enters the sensor area, the projected door in the middle opens and and shows him/her from the view of the "Other", who views him/her from behind. If he/she attempts to approach his/her own image, it moves back and disappears into the illusory space. In front of the third real door, a pre-production of a painting by surrealist painter Dorothea Tanning is lying on the floor. This painting is projected by a B&W camera onto a monitor behind the keyhole. "Original" and copy, evident and secret presence are face to face.
Ruth Schnell: Tür für Huxley, 25-09-2021, in: Archive of Digital Art Interactive computer video installation
Three doors of the environment 'Tür für Huxley' ('Door for Huxley') simulate the entrance to different realities. The observer has the choice between pure observance of a conserved and continuosly repeating image reality; entrance into illusory spaces through a projected door, which is controlled by a sensor; or, finally, the role of a voyeur. The left projected door is half open and showcases a space of action consisting of artificially distorted staircase and door sequences from films directed by Hitchcock and Siodmak. When the observer enters the sensor area, the projected door in the middle opens and and shows him/her from the view of the "Other", who views him/her from behind. If he/she attempts to approach his/her own image, it moves back and disappears into the illusory space. In front of the third real door, a pre-production of a painting by surrealist painter Dorothea Tanning is lying on the floor. This painting is projected by a B&W camera onto a monitor behind the keyhole. "Original" and copy, evident and secret presence are face to face.
Literature
Kacunko, Slavko. »Österreich. Wirklichkeitskonstruktionen, Datenerfassung und Telekommunikation. Weibel, Kriesche, Adrian, Mark, Tanterl, Ruprechter, Schnell.« In Closed Circuit Videoinstallationen, edited by Slavko Kacunko. Berlin: Logos, 2004.
Hofleitner, Johanna. »Das Sehen re-konstruieren.« EIKON - Internationale Zeitschrift für Photographie & Medienkunst 24 (1998).
Schnell, Ruth. »On the occasion of La Biennale di Venezia 1995.« In On the occasion of La Biennale di Venezia 1995, edited by Ruth Schnell. Vienna: 1995.
Exhibitions & Events