Abstract

The immateriality of moving images is manifest on a plethora of surfaces, shapes, and formats. Artists have access to a cornucopia of tools and medium to develop different forms of interactivity between the body and media, space, and time. Thus, since the 1960s artists have been pushing the limits of both the virtual and the physical worlds, expanding and transforming the static, two-dimensional frame while utterly, attempting to escape its tangibility. But, what if the video screens evolve into a responsive video membrane specifically designed for chosen moving images? How could this catalyst of sensations push creativity forward? And how would people embrace this innovative form of visualization as it moves them even closer to its subjects?

In addition to involving an transdisciplinary inquiry into the artistic development of two responsive video membranes for projected moving images, this doctoral research comprised the ethnographic investigations on how the video display’s materiality, spatiality, and interactivity are key factors in altering perception and augmenting sensory, affective, and cognitive responses to a moving image.

Finally, I propose a multisensory approach to the design of responsive video membranes where an emphasis is placed on the interplay among sensory modalities, sensory memories, associations and the sensory imagination. This realization emerges from studies in the fields of fine arts, anthropology of the senses, computer science, and mechanical engineering.