Sophie Ernst’s doctoral thesis is an artist’s contribution to media art theory. It focusses on the role of projection as material for sculpture. Her research addresses the question in what manner are projections applied in contemporary art and what image traditions does this relate to. She considers projections to be either immersive, like a cinematic experience, or augmentative, in the sense of a mixed reality. Immersions, the dominant mode in projection art and large parts of the theoretical discourse, presuppose a willing suspension of disbelief. Augmentation, on the other hand, can be seen as ‘magical’. It is a technique in art to ‘make strange’ by creating a distance that can be either pleasant or unsettling. Ernst argues that augmenting projections are persuasive, not because they are materially ‘real’, but rather since they make visible what we...
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Sophie Ernst’s doctoral thesis is an artist’s contribution to media art theory. It focusses on the role of projection as material for sculpture. Her research addresses the question in what manner are projections applied in contemporary art and what image traditions does this relate to. She considers projections to be either immersive, like a cinematic experience, or augmentative, in the sense of a mixed reality. Immersions, the dominant mode in projection art and large parts of the theoretical discourse, presuppose a willing suspension of disbelief. Augmentation, on the other hand, can be seen as ‘magical’. It is a technique in art to ‘make strange’ by creating a distance that can be either pleasant or unsettling. Ernst argues that augmenting projections are persuasive, not because they are materially ‘real’, but rather since they make visible what we could imagine as real.
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