The beyond
Akusmonautikum implanted @Aetha Lab, Vienna, dec.2023
Projections: Light-tunnel, Quantum Wall and Planetary insight.
Video projections created by Valerie Schaller with compositions of Andrea Sodomka, Christian Tschinkel and others.
The rose window, also known as a rosette, is an ornamental glass feature in a church that bridges the gap between the exterior and the interior, between the divine and the secular. The coloured glass acts like a prism through which sunlight shines, penetrating the interior as a play of coloured, refracted light.
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The rosette functions as a membrane between this world and the BEYOND, serving as a transcendental element in its projection.
First, the rosettes appear as large discs that rotate like enormous wheels, interacting with one another.
These increasingly transform into curved discs and gradually mutate into formations reminiscent of flying UFO-like creatures, moving dynamically through cosmic space.
The colour scheme also shifts from vibrant, colourful hues to a whitish, somewhat sci-fi-like colour mood.
This rosette-UFO dance unfolds slowly and contemplatively throughout the entire projection, illuminated and dynamically brought into interplay with the light effects of a constantly shifting light tunnel in the background.
The light tunnel in the background symbolises the gateway to the afterlife, to the light, to the post-mortem.
QUANTUM WALL
The Quantum Wall projection consists of three different sequences.
First, one sees quantum particles moving like a stream, coalescing into a star-like formation that creates a vibrating field of light known as the ZERO field.
THE ZERO FIELD
is absolute neutrality, the field from which everything is born and all possibilities can arise.
The Zero Field is the origin of all creation, of all inherent quantum potentials and of the divine matrix.
The Zero Field is Nothing and Everything.
The Zero Field is unlimited neutrality.
ICE SKATERS
Taking as its starting point one of the world’s finest and most brilliant pairs of figure skaters, the sequence shows how physical form and movement dissolve into a particle structure that merely sketches the silhouette of form and the outline of the movement.
Here, too, the idea of a third “nameless instance” is followed, namely that of movement, form, musicality and artistic dance, which is elevated to a transcendental level and brings the physical world to complete dissolution, to “dematerialisation”.
