Artists: Rafael Ludescher, Shahab Nedaei
Sound Design: Jorge Gómez Elizondo
Material: Valve Index, Aluminium
Dimensions: 400 x 400 x 180 cm
At the center of the VR work Dom_Ino stands a sculpture consisting of elements of a heavy-duty shelving system. Its modular construction is meant to be reminiscent of a skyscraper building on the one hand, and on the other hand a reference to the digital workflow, respectively to the parallel modular approach the digital workflow has. However, this construction is "shaken", the sculpture elements tilt slightly in different directions and give the shelving systems, usually suggesting stability, an unusual fragility. This "unstable" sculpture is found one-to-one in the virtual space. Here, in turn, this fragile, collapsing structure functions as an anchor to reality - tangible and providing support. Unlike the real world, the digital world is not subject to the laws of nature. For the virtual space, a true-to-scale digital copy of the performance space was created in which the sculpture and the person viewing it were positioned in such a way that they became congruent with their real counterpart.
From this previously described starting position, the viewer now moves through the real/virtual space. Gradually, video images embedded in the sculpture fade in - skyscraper buildings can be seen. Sounds resembling music are heard. If now one of these videos is watched over a certain period of time, one unwittingly triggers one of three narratives. The videos change, the skyscrapers interlock or deconstruct, the music intensifies. Suddenly it becomes space-spanning, the previously viewed video grows three-dimensionally out of the walls, one is literally embraced. The digital world takes over.
The walls of the "real" room deconstruct and one finds him- or herself in a world in which the buildings of the video viewed before form the new surreal environment. The music slowly progresses towards the climax. The previously stable sculpture in the center of the room begins to disintegrate into its individual parts. The further one moves away from it, the more it destroys itself. However, if one is close to the sculpture, it corresponds to its real counterpart and remains tangible - functioning as an anchor. The climax continues to build up audio-visually, only to subside after a few minutes and return the room and its surroundings to their original state.
It’s ironic that one can be more at peace in the virtual world than in the real. How concepts, thoughts, time and space bends only to the personal perception of the fiction. Well, Buddha clearly didn’t think that we took his teachings that we establish our own reality quite literally and shape a world that only bends to will and ambitions. But it happened and naturally the question occurs how far this virtual construct of experiences and feelings affect our perception of the representation of reality. In a fictional environment, de-materialized and formless, does it make sense to measure with the established concept of the natural world?