by accepting the invitation to “enter,” visitors make their bodies available to feed the cyber-organism. with enter, we merge with the virtual, with the object made of wires. the sculpture uses the digital mirror effect with a high-frame-rate camera and infrared motion detection. viewers are enlarged to poster size: this visualizes the uploading of our data.

in every moment we use technology or are even just near it, we participate in conscious and passive uploads. when we unlock our phones or organize our photos, we become data streams. the interactive light installation enter uses extrasensory tools like infrared and calculates the dimensions of the viewer, greatly magnifying their profile in the artwork before them.

a sound landscape produced by arkadiusz krupiński reacts like an instrument, with each sound layer interacting with the viewer and causing malfunctions and modulations in the composition.

arek krupiński on sound design: “my goal was to create complementary sound for the light installation, where a flat screen plays the role of an entrance to the metaverse and also a tool for its exploration. the size of the installation, the volume of the space, and the flow of the animation from bottom to top convinced me to use a vertical quadrophony (4 speakers). to create a sense of discovering new places in sound, i decided to use a virtual modular system (vcv rack), which allows great plasticity during the construction process.”

the sound space consists of several layers. some of them are constantly generated, while others flow with their own fixed rhythm and scroll through the soundscapes. each layer differs in length, articulation, and character. thanks to this approach, we achieve a polyrhythmic effect. the layers react to each other and are triggered by visual elements, including the cameras. the audiovisual system is intertwined through a multitude of connections, ensuring that the overall feeling remains consistent. one could even say that it is an audiovisual instrument. each viewer standing in front of the camera will have a different experience, depending on their own way of interacting with the artwork.

Text written by Julia-Beth Harris, in context of the exhibition UFO – Unidentified Fluid Other, curated by Bogomir Doringer, on view at Nxt Museum, Amsterdam.