沉浸式裝置——What Matters

WHAT MATTERS是在圣奧斯沃德教堂和教堂墓地的兩個(gè)沉浸式裝置，盧米埃達(dá)勒姆2017的一部分，由洋薊委托。在教堂內(nèi)，數(shù)千塊手工吹制的玻璃碎片懸掛在特定的位置，按照宇宙演化的階段排列，這些階段是宇宙大爆炸之后，在“光的散射”之前形成密度更大的粒子的早期階段。玻璃的顏色和位置是根據(jù)宇宙微波背景輻射（CMBR，“遺跡輻射”）的球形截面光譜來(lái)協(xié)調(diào)的。白色的光被“畫”過(guò)每一個(gè)彩色的碎片，這些碎片可以在它們的軸線上自然轉(zhuǎn)動(dòng)，使教堂充滿了不斷變化的光譜光學(xué)。隨著越來(lái)越多的參觀者擠滿教堂，這件作品變得更加充滿活力，由身體運(yùn)動(dòng)、熱量和呼吸引起的動(dòng)感運(yùn)動(dòng)。在教堂墓地里，來(lái)自“散落”的碎片似乎聚集在一起形成了復(fù)雜的物質(zhì)，由排列成簇的玻璃“泡泡”描繪，并由一個(gè)“網(wǎng)”固定在適當(dāng)?shù)奈恢谩粋€(gè)懸掛在5棵大樹之間的雕刻輕型網(wǎng)的拉伸表面。這張網(wǎng)看起來(lái)像是一個(gè)看不見的表面的痕跡，把玻璃和光懸掛在太空中，創(chuàng)造出像云一樣的漩渦光環(huán)，讓人聯(lián)想到宇宙結(jié)構(gòu)。這個(gè)裝置是在計(jì)算宇宙學(xué)研究所的協(xié)助下開發(fā)的，它反映了當(dāng)代宇宙學(xué)和模擬技術(shù)，喚起了人們對(duì)物質(zhì)如何演化、我們?nèi)绾谓；蚰M知識(shí)以及意識(shí)意味著什么的思考。通過(guò)繪制宇宙中光的誕生圖，這項(xiàng)工作著眼于計(jì)算模擬的意義，通過(guò)玻璃投射光，以便在模型中引入意識(shí)的方面，并提出一個(gè)問(wèn)題：“什么是重要的？”.

WHAT MATTERS consisted of two immersive installations at St Oswold’s Church and Churchyard, part of Lumiere Durham 2017, commissioned by Artichoke. Inside the church thousands of hand blown glass fragments were suspended from specific locations, arranged according to stages of cosmic evolution from the very early stages of the universe just after the Big Bang and before the formation of denser particles that preceded the ‘scattering of light’. The glass colours and locations were coordinated according to a spectrum of spherical sections derived from the Cosmic Microwave Background Radiation (CMBR, 'relic radiation'). White light was ‘painted’ through each coloured fragment which, allowed to turn naturally on their axis, filled the church with ever-changing spectral optics. As more visitors filled the church, so the piece became more alive with kinetic movement caused by the bodily movement, heat and breath. In the churchyard fragments from 'The Scattering' appeared to have pulled together to form complex matter, depicted by glass ‘bubbles’ arranged in clusters and held in place by a ‘web’ - a tensile surface of sculpted lightweight netting suspended between 5 large trees. The web appeared as a trace of an invisible surface, suspending the glass and light in space and creating cloud-like swirling auras, reminiscent of cosmic structures. Developed with assistance from the Institute of Computational Cosmology, the installation reflected on contemporary cosmology and simulation technologies, evoking thought about how matter evolved, how we model or simulate knowledge and what it means to be conscious. By mapping the birth of light in the universe, the work looks at the meaning of computational simulation, projecting light through the glass in order to introduce the aspect of consciousness into the model and inviting the question: “What Matters?”.