Basanta – Some thoughts and feedback

This article mention to the first-person experience form.

The installation artist Olafur Eliasson posits that in his time-based installations (as well as everyday spatial experience), the three Euclidian dimensions (length, width and height) are not only modulated by the fourth, topological dimension (time), but also by the fifth ‘dimension’ of subjectivity: Your Engagement Sequence (or YES), the first-person sequential unfolding of four-dimensional experience (Eliasson 2006: 62–7). This relational engagement, which inscribes the former four dimensions with a ‘ softness through negotiation … is only possible whenthe fourth dimension present; without a notion oftemporality the idea of engagement does not make sense’ (Eliasson 2006: 66). —— Adam Basanta (2015)

Following Eliasson, we can contemplate form as the particular temporal experience of the first-person subject as they navigate in, through and out of the work’s frame. That is, form as the particular first person narrativisation of experience in a given installation. —— Adam Basanta (2015)

The movement of the individual therefore determines where the media is constructed, so the initiative is in the hands of the visitor.

In contrast to front-centric stage or cinematic presentation models, both open and closed spatial designs share an important feature: they encourage visitor movement through the eschewing of a privileged viewing (or listening) position. In this sense, by ‘[denying] the viewer any one ideal place from which to survey the work’ (Bishop 2005: 13) in its entirety, the artist creates an impetus for exploratory movement. In turn, it is this exploratory movement that actualises the work and coproduces the visitor’s experience of temporal formal structures. —— Adam Basanta (2015)