Virtual Space Of Memory:

ARTIST'S

ARTICLE

Virtual Space of Memory:

the and Construction Installation and Performance Work AndreaPolli

V Y y work to date has focused on the relaJM tionship between actual physical space and the virtual space of memory. The use of interactive computer applications implies internalized information; physical space emphasizes the physical aspects of cognitive activity. In early work I used physical objects to embody specific memories. I then moved conceptually to using a specific location as a container for history and memory. Current explorations place the viewer in motion or implied motion to refer to continuity or lack of continuity in conscious thought. I see motion as similar to the experience of consciousness. The moment gives us a glimpse of timelessness, an impression that cannot be examined through the linear progression of time.

ABSTRACT

In ChaoticSystemsin Musical Improvisation, the Lorenz attractor takes an initial value input via a MIDI (Musical Instrument Digital Interface) input device and generates a series of x and y coordinates. I used these values on a macro scale as time and duration values-that is, the program captured "chunks"of numerical data (MIDI information) in real time based on the notes played by a

Inthisarticle,theauthor presentsthetheoretical perspectives behind herartworks. Contempoto thestrucrarytheoriesrelated tureof human aretheinmemory behind alloftheworks, spirations whichusecomputer multimedia, electronics She and/orrobotics. describesinfluences, background andproduction forseveralinteractiveinstallations andperformance works.Theartist's workexplores therelationship beconceptually tweenphysical spaceandthevirtualspaceofthemind.

Hole,installation,ArtemisiaGallery,ChiFig. 1. WhiteWall/Black

COMPOSITION AND CHAOS Our sense of time seems to be constructed from landmark eventsin the environmentwhichact as clocks,and fromwhich we get our temporalbearings.In this sense, the whole world can be viewedas an ensembleof clockswhichwe use at various times for variouspurposes [1].

cago, 1993. This photograph was used for the announcement card for this installation piece, emphasizing the topographical properties of an actual wall covered in flour.

The mathematics of chaos has fascinated me ever since I first read James Gleick's Chaos:Making a New Science[2]. I became interested in the computer's ability to discover new geometric structures by performing large amounts of calculations. Gleick discusses the case of chaotic systems in which naturalistic forms are created through iterative formulae. As a visual artist, I found this concept fascinating because it posited a link between abstract mathematics and naturalistic forms. At the Art Institute of Chicago in 1989, I was fortunate to work with George Lewis, a jazz trombonist and pioneer in human/computer musical improvisation. He counseled me in the creation of my project ChaoticSystemsin Musical Improvisation. This project, programmed in the Institut de Recherche et Coordination Acoustique/Musique's (IRCAM's) Max software, is a system that enables improvisation for musician and computer based on the Lorenz attractor. A Lorenz system is described by the solution of three simultaneous differential equations [3]: dx/dt = -ax + ay dy/dt = -xz + rx -y dx/dt = xy - bz.

Andrea Polli (artist, teacher). 4817 Central, Western Springs, IL 60558, U.S.A. E-mail:

? 1998 ISAST

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musician. The size of these chunks, and the points at which they were captured, were determined by the Lorenz attractor algorithm. The system would then play back the chunks in time using the same algorithm. The resulting improvisation-which for both the performer and the listener felt very much like an improvisation between two human musicians in performance-was inspired by Robert Snyder's work on memory in musical perception. In his work "Musicand Memory:A Brief Introduction" [4], Snyder uses cognitive concepts to analyze musical structure. He discusses short-term memory (STM), including chunking, and long-term memory (LTM), including non-declarative, declarative, episodic and semantic memory, in relationship to musical concepts such as rhythm and meter. I used Snyder's analysis of musical structure based on STM as the basis of the design of ChaoticSystemsin Musical Improvisation.STM is the second stage in the memory chain: it is a temporary memory that holds its contents for 3-12 seconds and has a limited capacity of five to nine items. The area of the brain related to STM is the location of our

awareness of the present. In my system, groups of notes played by the live performer were selected by the computer using duration values within the limits of STM generated by the attractor; durations of delays (pauses) between these groups were also selected in this way. What was unexpected and especially interesting about the system in performance was that the live performer was able to use his/her STM to anticipate and manipulate the reactions of the system. I believe that this predictability was possible because the Lorenz attractor was used to generate values. The attractor established a waxing and waning pattern that a live musician could anticipate and respond to. INTERIOR/EXTERIOR Here, everythingis a "predicateof existence":no dialecticbut the terriblesimultaneity of "white walls/black holes";a matterof "syntheticapperception"takingthe materialistform of the three syntheses of Anti-Oedipus: the "connective synthesis of production" (understanding),the "disjunctivesynthesisof recording"(imagination),and the "conjunctivesynthesisof consumption-consummation"(reason) [5].

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sires, for example, cellular phone the concept "untouch.: ' . able."

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After ChaoticSystemsin Musical Composition, I wanted to address the effects of sound on physical space. White Wall/ BlackHole, shown in January 1993 at Artemisia Gallery, was one of the first pieces I created using a spatial metaphor for memory. The piece consisted of a flour-coated gallery wall shaken by live sound received from the city streets outside the building using a police radio scanner. The flour on the wall slowly fell to the floor of the space due to the vibrations caused by the sound. The flourcoated wall resembled a topographical map; the landscape changed slightly with each new bit of audio information (Fig. 1). In creating this work, I used the police radio scanner to address the concept of information accessibility through technology. The acquisition of power through information-in this case, represented by the manipulation of physical space-was contrasted with the content of the live police radio dispatches. My use of police radio dispatches in the piece was intended to act on two forms of the listener's memory. On the one hand, the comprehension of speech is the basis of acoustic memory. Comprehension of the text depended on the listener's phonological STM, which serves as an "articulatoryloop" that helps preserve order and allows the listener time to process continuous streams of speech. The listener's semantic LTMwas also engaged-that part of the mind that contains schemas or generalizations about word order. The title of the work comes from a section in 1,000 Plateausby Gilles Deleuze [6]. WhiteWall/BlackHole is a reference to the Deleuzian interpretation of the Baroque. It refers structurally to the union of opposites. The monad is the autonomyof the inside, an inside without an outside. It has as its correlativethe independence of the facade,an outsidewithoutan inside [7]. The Baroqueis inseparablefrom a new regime of light and color.To begin, we can consider light and shadows as 1 and 0, as the two levels of the world separatedby a thin line of waters[8]. The paradox of Deleuzian theory being addressed in this piece has to do with the concept of opposition-i.e. the idea of two halves (an inside and an outside) and, as a sculpture, space and non-space.

THE DATABASEOF DESIRE I raised my lips to the teaspoonful of the tea in which I had soakeda morsel of the cake. No sooner had the warm

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Polli, Virtual Space and the Construction

of Memory

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into a series of circular ripples. Light bounced off the plate and onto the wall, creating a reflected pattern of motion on the wall. Viewers could see and feel the heartbeat's effect, but could not actually hear the sound because of its low frequency. This work dealt with longing and loss, using ephemeral material as a direct reference to an emotional state. The wine and heartbeat referred to the physical experience of emotion.

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liquid and the crumbs with it, touched my palate than a shudder ran through me [9]. White Wall/Black Hole led to another

installation piece dealing more directly with the concept of desire in the virtual and physical world. This piece was the first installation work I designed to exist in both physical and virtual space. The piece was installed in summer 1995 at Here Space, in New York. The Appetite exhibition, conceived of and curated by Michael Casselli, who had been working with the idea of the human appetite for

I created

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layers of possessions. We have possessions that exist in physical space, as well as possessions in virtual space: images, sounds and texts stored in analog and digital media. My work, entitled Appetite 4, consisted

of 32 porcelain dinner plates suspended on the walls of a small space and containing actual materials symbolic of my personal desires (Fig. 2). A cellular phone, for example, symbolized my need for the idea of being unprotection-i.e. touchable or unlocatable; keys referred to power and control. I photographed

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this work for the Nylistafnid Museum in Reykjavik,Iceland, as a part of the Altitudes/Attitudes exchange show sponsored by Nylistafnid and Artemisia Gallery. In this version, I selected 12 plates made of clear glass. The materials on the plates represented the ephemeral: air, sound, magnetic energy, etc. One of the plates, filled with wine, was placed above a large speaker that emitted the sound of a heartbeat. --= With each beat, '?>,:.', -:~-....:'..,r. , the surface of the wine would distort

several years, included installation works by six artists. The overall exhibit was de-

signed by Casselli to echo a garden, complete with garden lighting and smells. Research into the concept of appetite led me to consider my personal appetite for possessions. It became clear to me that I (like many others) have multiple

STORAGE/RETRIEVAL

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One explanation is that throughout one's lifetime, experiences with common objects are stored in permanent as singular instances, memory-not but as items organized around a central theme.... We recognize and classify a variety of disparate objects (cups and saucers) as members of a class by rapidly comparing them with an idealized image of the class. ... It is the idealized image, or prototype, of an object, person, feeling, or idea that is stored in our long-term memory [10]. The human mind ... operates by association ... in accordance with some intricate web of trails carried by the cells of the brain [11]. The idea of possessions in virtual space, which I explored in the Appetite

':.::... ::: ..::::'' :.:::.. ::... ::.:...... Fig. 4. Fetish, screen i shot of detail of in::: stallation at the ... Command-Shift-; Ctrl show, NAME .m :... ... 'Gallery, Chicago, ^", 1996. Twelve im-:.......... : ages were used in ^:.....:'c' ^S .~ -;. the Fetish installa. . obj: r tion to represent ': , s, r . - ; : ;th,i f.p i significant personal memories. This il........ Z screen shot shows . . - e'" . . . .........:..... two of the 12 im--...... : a ages (a bottle and~..ii!. | | "f m

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"ideal"state-lit to resemble a commercial product (Fig. 3). Objects of desire in the virtual world exist in a visuallyheightened state to compensate for the lack of physicality. Remote visitors could access the desires in the virtual world through the World Wide Web (WWW)at .

Polli, Virtual Space and the Construction

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vealed to visitors, creating an atmosphere of mystery.On the surface of one of the boxes, a videotape of the series of idealized objects was projected. Since beginning this project, I have allowed a fluid exchange of objects in each individual work. Objects gain and lose importance in my memory, a concept that is reflected in the objects evident in each work. I suppose I am trying to re-create my state of mind at a given moment in time. Fetish, May I Help You was a collabora-

Fig. 5. Fetish,MayI HelpYou,installation,MainStreetSpace,AlfredUniversity,Alfred,New

York, 1997. The author created Fetish, May I Help Youwith the assistance of Alfred University students. The students collected fetish objects and wrote stories about them. The objects were photographed and placed on an interactive CD-ROM. They were also displayed in glass cases in a storefront.

exhibition, led me to the conscious realization that virtual possessions are actually an integral part of non-digital life. Every human being has a storage bank of virtual possessions: memories. In fact, the computer storage bank is understood in human terms only through a metaphor of memory. Fetish,part of Command-Shift-Ctrl exhibition in May 1996 at NAME Gallery, Chicago, explored the issue of memory in virtual and physical space. The installation consisted of 12 objects suspended on glass panels acting as a drop ceiling over the heads of the viewers. A computer in the space provided a virtual replication of the objects. In positioning the objects, I attempted to create a metaphor for the act of remembering. There are physical correlations to many emotional states-for example, joy is experienced as a physical buoyancy, and, in contrast, grief is experienced as physical weight. When trying to remember, humans often will move their eyes up and to the side (Color Plate B No. 1). I lit each object with a dramatic spotlight, which created exaggerated shadows on the walls of the space. As in Appetite 4, lighting served to give the objects a larger-than-life presence in the space. I wanted to create a physical space that would refer to the mind's virtual space during the act of remembering events and objects. Certain events have prominence in the mind, and the physical metaphor of size in relation to impor-

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tance is utilized in the space through oversized shadows-foggy reproductions of actual events/objects. I selected the objects as signifiers of personal experiences related to past relationships. Using a touch-sensitive interface, viewers were able to access computer files by selecting objects on the screen. The act of selecting an object would bring forth a personal story, one of my memories related to the object, as well as a sound that signified the emotional quality of the story. I selected the stories based on their prominence in my personal database of memories; each story was described in a way that left the reference to the object somewhat ambiguous. I also cross-referenced some of the stories to more than one object (Fig. 4). The structure of the piece mimicked the fluid nature of memories: one memory leads to another in unpredictable ways. I used the system's sounds as an effective means to provoke the viewer's memories, in a way similar to Casselli's use of smells in the Appetite exhibit. I chose familiar sounds: a door knock, a car door slamming, birds calling, ice clinking in a glass, etc. I also reworked this work for other spaces. At the University of Indianapolis in November 1996, I re-created Fetish with 100 2-x-2-ft cardboard boxes, stacking them up to the 40-ft ceiling of the gallery to create an environment reminiscent of a warehouse or storage space. The contents of the boxes were not re-

Polli, Virtual Space and the Construction of Memory

tive version of Fetishcreated in January 1997 with the assistance of participating students during my 1-week stay as a visiting artist at Alfred University, Alfred, New York (Fig. 5). The students collected their personal fetish objects: some found objects; some made objects and wrote short stories related to them. We photographed the objects and placed them with the stories on an interactive CDROM (compact disc-read only memory). We displayed the objects in glass cases on the first floor of a storefront space in the town of Alfred. On the second floor, we created a dark cabaret atmosphere with a projection of the interactive application and live performance. Visitors were invited to enter a tiny confessional booth and record their private fetishes on videotape, which was then broadcast onto the street of the town. In November 1996, I explored this idea further in a collaborative performance with artists Jan Erik Andersson, Louise McKissick and Jeff Callen. We met as a group and discussed our work and interests. Andersson, who was in the United States as an artist in residence from his home in Finland, discussed the discomfort he felt as a child when his father was absent. This sparked a group discussion about each or our fathers and led to a performance, P-P-Pa-Pa,which used a fractured narrative of past and present stories with video projection into a pool of water, where viewers could direct a small remote-controlled boat. The performance was a metaphor for the process of trying to remember that which one cannot understand.

POSITION ... their past, their culture, their native

places,theirfamiliesand friends;an attachment which they carrywith them all their lives, regardlessof where destinymayfling them [12]. A particular place can be seen as an energy, a presence, an essence, a force

Fig. 6. The Twins, performance, part of The Observatory project, Vilnius University, Vilnius, Lithuania, 1997. Two performers are drawing black chalk marks on a white floor to control the motion of linetracking robots. The chalk marks left a record of the event resembling a map of the mind.

that provokes an emotional response. I have moved from working with positioning objects in space to exploration of the space itself, geographically and architecturally. The Observatory, organized by the artist's group Super-on ExLibris (SEL) (Tomas Geciaskas, Sigitas Lukauskas, Rasa Staniuniene and Sigitas Staniunas), was an international site-specific project that took place in the last weeks of April 1997 in Vilnius, Lithuania. It included installation, performance and theater works created by artists both individually and in collaboration [13]. Seven Chicago artists participated: Donald McGhee, David Brown, Matthew Wilson, Steve Barsotti, Louise McKissick, Jeff Callen and myself. The site of the project was one of the oldest observatories in Europe; it was established in the center of Vilnius by Tomas Zebrauskas in 1753. In 1876, the western tower of the observatoryburned, and in 1883 the observatory was closed, inaccessible and almost forgotten. It remained that way until 1997. The Observatoryis metaphoric-just as the original observatory acted as an interface created as a means to understand the world on a global scale, so did the participants in this project engage in a similar process of global understanding, through international collaboration-dialogue, interaction and contextualization. For one of my Observatory pieces, The Twins, I designed a system in which a structured set of rules created a complex and unpredictable event through the use of robotics, light, interactive computer technology and human interaction (Fig. 6). In the piece, two performers created complex patterns in black chalk on a white floor-the black tracks then controlled the paths of linetracking robots. The cylindrical tower space served symbolically as interior

mind space; in performance, the chalk marks left as a record of an event were meant to be seen as a map of the mind. Collaborative performances were created in the observatory. Steve Barsotti used his skills as an instrument maker and musician to fashion instruments of materials he found in the observatory. These instruments were then played in performance within the space itself. A remnant of Spinduline Spina (Radiation Lock, in Lithuanian) (Fig. 7), a collaborative performance work conceived by McKissick and myself, was hung from the tower that housed The Twins. SpindulineSpina consisted of one blind-folded performer in

Fig. 7. Spinduline Spina, performance, part of The Observatoryproject, Vilnius University, Vilnius, Lithuania, 1997. Exterior of the observatory tower, where a blind-folded performer recited a series of significant dates in Lithuanian history, one for each scarf in a long line of scarves she

CURRENT MOTION Whatwe call reality-"this is it";"Iam here";"thisis happening to me"-is a certainrelationshipbetweenmemories and sensationsthat surroundus at the same time. That is the only true relationship that marksthe distinctionbetween self and not-self. "I"am the bridge between past and present, and also between present and future. This linkagedemandssomethingmore than memory [14]. The experience of timelessness is similar to what George P. Landow calls the "BorgesianAleph" [15]: a point that contains all other points. Landow is referring to digital experience (e.g. one can seemingly reach any point on the WWWfrom any other point) rather than physical experience. Is there an analogous position in the physical world? We consider time to be linear, with each point in time leading to another in succession. Yet, many claim to have experienced moments in time that seem to have a position outside of linear progression. In Milan Kundera's Slowness,the relationship between body motion and

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dates in Lithuanian history, one date for each scarf in a long line of scarves she let out the window of the space.

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Fig. 8. Tight, performance, Artemisia Gallery, Chicago, 1997. This photograph shows the gallery set-up before the performance. Performers Louise McKissick and Jeff Callen were suspended in the gallery from climbing harnesses during performance. Viewers could look through holes in the surrounding walls of the gallery to see live video and interact with a computer application.

memory is discussed. Kundera describes a man walking. When he tries to recall something, his walking pace slows down. When he tries to forget, he speeds up the pace [16]. Theoretical physics also expresses a relationship between time and motion-for example, the slowing down of time when traveling at the speed of light [17].

My current exploration is the expansion of location to motion and perception. My new work deals with the perception of continuity in conscious thought. I am attempting to change viewers' physical body perceptions and alter their expectations of control through inconsistencies in control-and-response mechanisms in interactive installation. Tight,shown in June 1997 at Artemisia Gallery,was a collaborative work between myself, McKissick and Barbara Droth (Fig. 8). In the piece, we displayed an interactive computer application [18] through an antique stereoscope. Sound, stories and images could be accessed through a standard mouse interface; however, the way the images were seen created a false sense of perspective. The application used stereoscopic three-dimensionally modeled objects as well as two-dimensional graphics and video. The text was taken from an actual conversation I had with a stranger, a moment stored in my personal memory. The images seen through the stereoscope created a false sense of space, and the inter-

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action similarly created a false sense of control among viewers. The application set up a standard stimulus/response mechanism and then subverted it. The performance aspect of the exhibition consisted of two performers in black wet suits suspended from the ceiling of the gallery in climbing harnesses. Visitors to the gallery were invited to suspend themselves as well. This piece was my first experimentation in combining altered physical sensation with interactive media. Recently, I have expanded this idea for use in performance events controlled by subtle eye movements.

GAPE I based my most recent project, Gape,on the use of a simple eye-tracking device created as part of the diploma project of An Reich at the Academy of Media Arts, Cologne, Germany, under the supervision of Siegfried Zielinski and Phillipp Heidkamp (http://www.khm.uni-koeln. The device, which de/-an/imagery/). determines the position of dark and light pixels, uses input from a video capture card to control an interactive application. Gapewas shown at Columbia College in Chicago at Cache,an exhibition of digital work shown in conjunction with the International Symposium for the Electronic Arts (ISEA) '97 that was curated by digital artist Niki Nolin. In this piece, which was also performed at

Polli, Virtual Space and the Construction of Memory

Artemisia Gallery, a live performer uses the eye-tracking device as a mode of communication. A grid of nine regions on a computer screen was keyed to the output of the sound of eight words from the text used in Tight (one of the nine regions was inactive and was used to create the effect of a pause of breath between the spoken words). The performer worked with the device and several sound processors to create a sound composition. At first, it would appear that the performer was trying to speak a complete sentence but was unable to control her eye movements enough to tame the sensitive technological device. Then, a soundscape would become apparent, created by the overlapping words and the complexity of the combination and repetition. The combination of eight words (I, you, don't, want, to, be, young, old) created conflicting statements about the human body while a performer was locked into an unmoving position, limited by the same technology she was controlling.

CONCLUSION Art can be viewed as parallel to memory. Many of the same terms are used to describe the two. For example, art and memory both employ and integrate the senses, both are representations, and both refer to a sense of timelessness. Art can evoke memory and vice versa. There are a number of metaphors in use today to help us understand how memory functions. I have concentrated on three major schemas in my work and used them in the organization of this article: metaphors of space, a computer database and time. None of these schemas completely define memory with all its complex and inexplicable behavior. I have come to believe in the course of this research that at the present time there are many aspects of memory that, like art, are not quantifiable. References

and Notes

1. Robert Snyder, "Music and Memory: A Brief Intr-oduction," unpublished manuscript (September 1996) p. 289. 2. James Gleick, Chaos:Making a NewT Science(New York:Penguin, 1987). 3. "Learning the Lorenz Attractor," WWWM! site of the Oregon Graduate Institute of Science and Technology . 4. Snyder [1]. 5. Arthur Kroker, "Deleuze and Guattari:Two Meditations" .

6. Gilles Deleuze and Felix Guattari, 1000 Plateaus (Minneapolis, MN: Univ. of Minnesota Press, 1987).

18. "TightGeek Girl".

7. Gilles Deleuze, The Fold, Tom Conley, trans. (Minneapolis, MN: Univ. of Minnesota Press, 1993) p. 28.

Bibliography

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Balsamo, Anne. "Reading Cyborgs Writing Feminism," Communication10 (1988) pp. 331-344. Baum, Joan. The Calculating Passion of Ada Byron (Hamden, CT: Archon Books, 1986).

Stone, Allucquere Rosanne. "Will the Real Body Stand Up?: Boundary Stories About Virtual CulFirstSteps tures," in Michael Benedikt, ed. Cyberspace: (Cambridge, MA: MIT Press, 1991) pp. 81-118. Van Zoonen, Liesbet. "Feminist Theory and Information Technology," Media, Cultureand Society14 (1992) pp. 9-29.

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10. Robert L. Solso, Cognition and the Visual Arts (Cambridge, MA: MIT Press, 1994) p. 237.

Deleuze, Gilles, and Guattari, Felix. Anti-Oedipus: Capitalismand Schizophrenia,Robert Hurley, Mark Seem and Helen R. Lane, trans. (New York:Viking Press, 1977).

11. Vannevar Bush, "As We May Think," Atlantic Monthly 176 (1945), quoted in Michael Joyce, Of Two Minds: HypertextPedagogyand Poetics (Ann Arbor, MI: Univ. of Michigan Press, 1995).

Haraway,Donna. Simians, Cyborgsand Women(London: Free Association, 1990).

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Joyce, Michael; Syverson, Pe; and Leusebrink, Marjorie. "WalkFour Ways at One Time: Narrative Coherencies," PRE/TEXT (A Journal of Rhetorical Theory) (1997).

"Chunking" .

12. Andrey Tarkovsky, Sculpting in Time, Kitty Hunter-Blair, trans. (New York:Knopf, 1986). 13. "ObservatoryWeb," WWWsite for the Observatory project designed by NKD Design .

Landow, George P. Hypertext:The Convergence of ContemporaryCritical Theoryand Technology(London: Johns Hopkins Univ. Press, 1992).

14. Alberta Steinman Gilinsky, Mind and Brain, Principles of Neuropsychology(New York: Praeger, 1985) p. 477.

Minsky, Marvin. The Societyof the Mind (New York: Simon & Schuster, 1988).

15. George P. Landow, Hypertext:The Convergenceof ContemporaryCritical Theoryand Technology(Baltimore, MD:Johns Hopkins Univ. Press, 1992). 16. Milan Kundera, Slowness, Linda Asher, trans. (New York:HarperCollins, 1997). 17. Albert Einstein, Essays in Physics (New York: Philosophical Library, 1950).

Moore, Doris Langley. Ada, Countess of Lovelace: Byron's Legitimate Daughter (New York: Harper & Row, 1977).

"The Adaptive Significance of Phonological Encoding" .

Gilles Deleuze . "Short-TermMemory and the Atkinson & Shiffrin Model" . "Short-Term Memory Capacity" . "Short-Term Memory Encoding" .

Guyer, Carolyn. "Quibbling:A Hyperfiction," Words on Works section, Leonardo25, No. 1 (1992) p. 258.

"Working Memory" .

Seward, Aurelie, and Green, Ann. "Collaboration and Conversation: Three Voices," Computersand Composition11, No. 1 (1994).

Manuscript received 15 November 1996.

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