Michael Maranda, Spherorama (Sylvester's Canyon), black-and-white silver prints produced by a custom-made pinhole camera, 230 cm in diameter, 1991. (Production: Explorations Program, Canada Council). A truncated icosahedron made of photographic prints is suspended from a ceiling. There is a hole at the bottom of the icosahedron to accommodate a viewer, who is then surrounded by a single continuous image. Looking down, the viewer sees a thin black band around the opening, which could be seen as a frame: the black band does not enclose the picture so much as it frames the viewer, the "outside" world. Here image is primary, an analogue version of virtual reality. These spheres have familial relationships with painted panoramas, Daguerre's dioramas and other historical precedents. (Michael Maranda, c/o Program in Visual and Cultural Studies, Morey 424, University of Rochester, Rochester, NY 14627, U.S.A.)
"Artworks that are not "wired" are readily
invalidated by the TC. In spite of this,
Michael Maranda's Spheroramas reconstruct
space and time for an immersive telepresence
experience. Spheroramas are "mutant"
photographs that take the viewer hostage
and frame him or her within the scene."