VOYEUR'S SERVER ROOM

The Server room of the office is transformed into a space for surveillance and voyeurism.

The need for security inside the office is critiqued by modifying the space into one for spying instead. The servers and DVD players surround the space where a wire-covered elevated chairs with a big console allows the invisible woman to control not only what is going on in the 42 floors of Tower 42 but also in the 1/2 part where she lives.

This space is a link between both the real space of the office inside the narrative and the dream space of Nora where the invisible woman inhabits.

Here the invisible woman is a spy into the life of the office and is able to see the spaces she transforms. This encloses a paradox: Nora imagines the invisible woman and is then spying on both herself and the invisible woman, so both characters reflect each other. The invisible woman is Nora's own projection, or is Nora the own projection of the invisible woman? Is the invisible woman spying or being interrogated?

GALILEAN BEDROOM

The meeting room, a place for collective time-killing to rest from the office routine, is transformed into a bedroom. The narrative focuses on "the meeting of the meeting" where the main topic is the horoscope.

In this magic place, the invisible woman sleeps upon the stars and the solar system while interpreting and changing the signs of the universe. Her need for a deeper belief in the world is seen in her desire to control destiny. She plays with the horoscope in order to create and control her beliefs and superstitions, a topic highlighted in the long working days inside the office.

The boundaries are blurred between the science of astronomy and the beliefs of astrology, critiquing the hegemony of the scientific code of interpretation, a different code of beliefs. The invisible woman plays the role of both transformer of the universe and interpreter of its signs.

LUDOPOLY'S DRAWER

Ludopoly is presented as a board game created inside the drawer of the director's desk, the most secret part of the office. Here the invisible woman, as she is imagined by Nora, abstracts her desire for power into her need to transform the world of the Office of the Director. The role of the Director is magnified among the employees, elevated into a role close to divinity. The power is trivialized as a board game that is developed as an antithesis of Monopoly. The exercise of the invisible woman consists of creating the game and the rules, but instead of then playing the game, it is the construction of it where the real power rests!

The macro regime is reduced to the micro dimensions of the drawer and the city is constructed out of office objects. These configure a new reality where office tasks and leisure are shared, where the public and private spaces are mixed, enabling a de-sanctification of space and a new realm where:

Instead of the underground there is a Roller Coaster.
There are Bumper Buses.
The Jail of Monopoly is Tower 42.
The main landmarks are kept but transformed, such as the Haunted Gherkin, the Old Broad Mirror Maze, the Lloyd slide and the Bank of Chewing Gum.
The Office park replaces the office buildings.

TAILOR PHOTOROOM

The Photocopier room of the office is transformed into the tailor's workshop. As a way of recognizing herself, the invisible woman uses the photocopy machines to take photos of her body, through this discovering and reassessing her identity. This becomes a direct reference of self-identification during the construction of her character identity and in her journey to awareness. The desire to transform her identity follows her need of self-identification.

These photocopies are used to make the patterns that give rise to the invisible woman making one of her fancy dresses. They are realized with the help of a hand-made sewing machine, carpet strings, office scissors and staplers.

In this case, the fancy dress is the “Crazy Pilot” that she wears to improve her experience playing sports in her false-ceiling-based Flying Simulator. The fancy dress is a way of showing the individual fight for creating Nora’s own identity in an increasingly impersonal world inside the unified corporate identity of the office.

INVISIBLE WOMAN FILM

This is the final video for the Final Exam of the Master. The quality is reduced but it will be posted and linked to vimeo soon.

CRIT- TIME-BASED PSYCHOGEOGRAPHY

This is the film or time-based psychogeography that gathers the whole narrative and kinds of realities of the project. This is the version that was shown during the crit session 28th July 2010.

The production is based on:
- 3dmax modelling and mapping
- Vray rendering in EXR format 32bit float-point
- HRMI images created with the info of Raw images of the Installations
- Composite (toxik) compositions and Cineon convertion
- After effect camera with vanishing point for images anime + chat scene
- Photoshop correction of still-images
- Camrecord for video captures
- Premiere for final composition and audio

Audio: original voice, Catherine Griffiths

Voyeur's Server Room - Installation Stage Study

A big and messy floor made out of lots of wires, some different colours of lights and a curtain made of plastic bags, allow us to study the atmosphere of the Voyeur's Server Room. The dark and half/light atmosphere reflect a sinister room that nonetheless will show magic spaces through the cluster of computer screens.