Immersion devices and the spectator’s self-representation: the use of the tv in exhibitive spaces

Abstract

In this article I discuss the aesthetic difficulties that the use of the television, in the first experiences with video, imposed on artists. Furthermore, I will call attention to the different orders of epistemological rearrangements in art and museum spaces that the video has induced. I'll focus on the immersion cabins solution, designed as an active device for direct capture, which involves the viewer in a dialogical relationship that places him in the unusual position of a spontaneous performer when faced with his self-representation.