by Malcolm Le Grice

Here Le Grice talks about how extending the cinematic presentation though multi-screen forms gives the spectator a choice of what they want to watch and by the result of this choice being a physical movement in one way or another the viewer is thus involving the space in the work. Le Grice writes, “reconfiguring the cinema space simultaneously breaks the singularity of the experience – but more particularly breaks any assumption that there is a singular (authorized) interpretation based on matching spectator experience to artistic intention. […] Stressing the spatial configuration of a work means the spectator is made aware of occupying the space of the presentation.” (Le Grice, 2011, p. 169). He further agues, that the presence of the spectator as part of the space and the work itself is also the spectator’s presence in time and it is this experience of time’s passage that provides an actual presence in the space and not an illusory one.

Le Grice, M. (2011). Time and The Spectator in the Experience of Expanded Cinema. In A. L. Rees, D. White, S. Ball, & D. Curtis (Eds.), Expanded Cinema: Art, Performance, Film (pp. 160-170). London: Tate Publishing.

Time and The Spectator AL


Expanded Cinema: Art, Performance, Film




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