INSTALLATION DESCRIPTION: At one end of the proposed installation space (main dining area designated for Sony employees), a wall is used to support a video wall or projection screen, which displays a seam-less flow of large-scale images. These large-scale images reveal a timeline of Sony Corporation's past product development. The footage is to utilize both historical promotional footage and documentation, crating a final montage that places technological development within broader social, economic, and political contexts. An identically sized video wall (or projection screen) will be placed on the opposite end wall of the cafeteria and will be used to display Sony's current and projected future product line. The "current/future" program can be continually updated by Sony, reflecting the constant development of new products. Thus, the Artist will design a history of the Corporation through a developed edit, which will utilize current special effects programming. It will be up to the Sony Corporation to develop the agenda of the new.
STRUCTURE: A truss system, hanging from the ceiling, will span the distance between the set of video walls. The truss is to provide a delicate balance between aesthetic statement and prefabricated industrial components. The truss is also an indicator of the type of industrial architectural components used to support utility systems - such as for lighting of large-stage productions, particularly rock concerts. Relatively small scale monitors (ranging in size from approximately 4 inch to 20 inch diagonal) will hang from the truss on custom designed components. Due to the size of the monitors, displayed images will be perceived from a distance as pulses of light.
VISUAL EVENT: The images from the two video walls are to migrate across the truss, within the frames of the hanging monitors, eventually colliding. This "collision" of the historical and the contemporary images will mutate into a new hybrid, whose form remains temporal because of Sony Corporation's ever-changing product line.
INTENTION: The strategy of casting a relationship between the old and new is a vital one, as each becomes involved in the definition of the other. The interplay between the historic trace and the contemporary product line will hopefully underscore that when a product passes into "obsolescence" it does not simply disappear to make way for the new. Although often eclipsed by the immediacy of a constant process of updating, technology still has a history, one which has a significant role in how we understand and utilize technology in our daily lives. This installation is not meant to mimic media events that have become common in the entertainment industry, where the viewer is positioned as a spectator, and is witness to a demonstration in advanced technological capabilities. Rather, by establishing the entirety of the Cafeteria-space as a stage, through the use of the truss system, it is hoped that the viewer is offered much more - as he or she is cast as a participant in the Sony drama.
REASON FOR NON-COMPLETION OF PROJECT: Sony Corporation Executives for this Project stated that they were "ready" for an artistic endeavor whose content was to provide for both a critical dialogue and display. However, continued planning and discussion reverted more and more to Corporation statements such as: "We found you as a diamond in the rough" (indicating that, with their input, the work would become polished; perhaps more industry oriented) "We need a work which can appeal to both Michael Jackson and Tony Bennett, when they walk through the executive floor" (to which the Project had been moved; with the consent of the Artist.) "We thought we could tongue you up" (indicating that I would come about to their way of thinking as the Project progressed.) And, finally "Anyone can design a truss." These statements were, for the Artist, a direct indication that the Project's main intentions would not be realized: that the Corporate goals would find a way of sabotaging the Artist's goals. I thereby chose to stop all work on the Project at a Christmas meeting in 1992.
INSTALLATION DESCRIPTION: At one end of the proposed installation space (main dining area designated for Sony employees), a wall is used to support a video wall or projection screen, which displays a seam-less flow of large-scale images. These large-scale images reveal a timeline of Sony Corporation's past product development. The footage is to utilize both historical promotional footage and documentation, crating a final montage that places technological development within broader social, economic, and political contexts. An identically sized video wall (or projection screen) will be placed on the opposite end wall of the cafeteria and will be used to display Sony's current and projected future product line. The "current/future" program can be continually updated by Sony, reflecting the constant development of new products. Thus, the Artist will design a history of the Corporation through a developed edit, which will utilize current special effects programming. It will be up to the Sony Corporation to develop the agenda of the new.
STRUCTURE: A truss system, hanging from the ceiling, will span the distance between the set of video walls. The truss is to provide a delicate balance between aesthetic statement and prefabricated industrial components. The truss is also an indicator of the type of industrial architectural components used to support utility systems - such as for lighting of large-stage productions, particularly rock concerts. Relatively small scale monitors (ranging in size from approximately 4 inch to 20 inch diagonal) will hang from the truss on custom designed components. Due to the size of the monitors, displayed images will be perceived from a distance as pulses of light.
VISUAL EVENT: The images from the two video walls are to migrate across the truss, within the frames of the hanging monitors, eventually colliding. This "collision" of the historical and the contemporary images will mutate into a new hybrid, whose form remains temporal because of Sony Corporation's ever-changing product line.
INTENTION: The strategy of casting a relationship between the old and new is a vital one, as each becomes involved in the definition of the other. The interplay between the historic trace and the contemporary product line will hopefully underscore that when a product passes into "obsolescence" it does not simply disappear to make way for the new. Although often eclipsed by the immediacy of a constant process of updating, technology still has a history, one which has a significant role in how we understand and utilize technology in our daily lives. This installation is not meant to mimic media events that have become common in the entertainment industry, where the viewer is positioned as a spectator, and is witness to a demonstration in advanced technological capabilities. Rather, by establishing the entirety of the Cafeteria-space as a stage, through the use of the truss system, it is hoped that the viewer is offered much more - as he or she is cast as a participant in the Sony drama.
REASON FOR NON-COMPLETION OF PROJECT: Sony Corporation Executives for this Project stated that they were "ready" for an artistic endeavor whose content was to provide for both a critical dialogue and display. However, continued planning and discussion reverted more and more to Corporation statements such as: "We found you as a diamond in the rough" (indicating that, with their input, the work would become polished; perhaps more industry oriented) "We need a work which can appeal to both Michael Jackson and Tony Bennett, when they walk through the executive floor" (to which the Project had been moved; with the consent of the Artist.) "We thought we could tongue you up" (indicating that I would come about to their way of thinking as the Project progressed.) And, finally "Anyone can design a truss." These statements were, for the Artist, a direct indication that the Project's main intentions would not be realized: that the Corporate goals would find a way of sabotaging the Artist's goals. I thereby chose to stop all work on the Project at a Christmas meeting in 1992.