C O N C E P T :
Idee/concept/organisation/programming and executive production: GRAF+ZYX
R : G : B – COLOUR SPACES OF A VIRTUAL UNIVERSE
»R:G:B« is an experimental interaction of video, music and dance, in which the analogue world of bodily expression is hybridized with multifarious technical and artistic features of the new media in an energetic and imaginative way.
video & film / 2d & 3d animation / music & sound / performance & modern dance / voice & text
virtual & real space / reality & science fiction
canned heat & cold live
THREE CONSTRUCTION MODELS FOR AN AUDIO VISUAL LOCALIZATION OF THE VIRTUAL SPACE IN THE PHYSICAL WORLD and vice versa:
|short audio-visual examples|
 The colour recording of cyberspace: RED
Red is red.
Rien ne va plus!
 Absorbing region 01: YELLOW
Here, the project diverges from the system of digital representation, in which RGB-data always consist of a mixture of the primitive colours red, green and blue.
We mix up the universe in a different way.
 Perception and its perils: from BLAU via BLEUE to BLUE
In Great Britain the adjective blue implies the particular psychic condition of pensiveness and melancholy. In the German-speaking world the colour BLAU stands for harmony, distance, infinity, longing, catharsis, silence, eternity, truth.
Negatively assessed BLAU also represents coldness, falsehood, insobriety and the fake.
If we take into account all the features of space, we are immediately struck by the greatest invention of definition of the last millennium – the »virtual space«.
Virtual is considered to be the feature of a matter, which does not exist in the very form in which it appears, but which is congenial to a real existing thing in its nature and effect. (Wikipedia)
Not only exciting system-applied, intramundane experiences (such as the invention of transportation beforehand), the venture into earth-bound mutations of seemingly primitive cultures and the experience of distant, even barren landscapes of foreign galaxies are tied to this new construction method of immaterial matter. It is in fact for the first time in the history of humanity that three-dimensional space, its perception and its practical uses are reduced to the size of a tennis ball, become transparent and modulated into the fourth dimension based on these new non-material and conceptual conditions.
The architecture of real space is overrun by the dream of infinite possibilities of an electronic, timeless universe – yet scarcely anybody ever worried about how the physical world may change if it is possible to digitally limit its facets.
Who, on the other hand, can truly say where virtual space ends and the avatars' reality begins to dance.