Film sideways

The artwork’s main focus is on the perception and interpretation of the observation of the film sideways – i.e. a hypothetical situation where we would stand next to the projection screen and watch the film (projected on it) from the side.

A film can be thought of as a two-dimensional representation of the four-dimensional space, if we count the time as the fourth dimension (including all of its dynamics). Bearing in mind such thought, to look at the film from the sideways seems irrational, or illogical since what we see would only be a one-dimensional cut (assuming a certain thickness to the projected surface, otherwise it would not be visible at all due to lack of a third dimension), a line (an abscissa) of pixels at the side of the film we would position ourselves at. Intuitive expectation of being able to see more thanks to our perception of empty space around the objects in the film is confronted with the obvious fact that the four-dimensional picture is flattened into two dimensions (we can see the person in the middle of the room and we should see such persons from the side, through the empty space around them). But would it change if we were to extrude the film back into three-dimensional space? What would we see when looking at such literal representation of such irrationality as the film sideways? The set of fiber optics installed in the cubic shape, respecting the resolution of the projector, extrudes the film into the three-dimensional space in a rather purposeful but functional way. Is it nonsense? Since no one probably knows what the film from the sideways really looks like, it is hard to say. Is it a continual extrusion of the film or a sequence of the individual frames? Is it proof of the illusion of space in the film?

The core of the work is to trigger such interpretations and thought associations in the mind of an observer. The visual aspect of it is to initiate them.