A instalação consistiu na disposição de um ambiente interativo, em que os participantes eram solicitados a partilhar e a explorar um mesmo espaço, através de textos, sons e imagens que iam se modificando com os toques dos dedos nas telas dos computadores. Os computadores estavam dispostos sobre as cabeças dos participantes e uma animação interativa possibilitava diferentes caminhos de percepção/navegação.
Este trabalho foi presentado na exposição Mediações, Espaço Cultural Itaú, São Paulo, setembro/outubro de 1997; na II Bienal do Mercosul, Porto Alegre, em 1998; Subversão dos Meios, Itaú Cultural, entre outubro de 2003 e fevereiro de 2004 e na Exposição Corpos Virtuais no Espaço Telemar, Rio de Janeiro, 2005.
The device consists of 4 interactive terminals in a set of 9 monitors placed over the head of the participants, in which the navigation is done through the touch screen. As the participant, with his fingertips, touches the screen, a sequence of actions will be occurring at the same time that sounds, images and texts will be chaining together in different successions and ways. On both, ceiling and floor of the structure's device, there are reflective acrylic plates which reflect the participants found imersed in this environment, generating a mirrored relation and juxtaposing their images with the "electronic blue" of the screens, which is the base color proposed for the interactive animation.
The images create a great blue mosaic, chained together they are arranged in possible oniric routes, which will be shared with other participants. The images are fragments of (un)recognizable elements juxtaposed between parts of the ski, depth marines,...
The intention is to have the participant interacting in an intimate and shared way. He does it through a direct manipulation: at the same time that the environment where he is integrated is being modified, eventually he will be sharing it with others.
Finally, the advice requires direct actions in order to invoke and answer the events, taking on the participant as a voyeur and forcing his proximity to the screen in an unusual watching position. The participants will be moving around in the device, with their own touches they will be interrupting and modifying the sequences of sounds and images. Effectively, the visitor enters and modifies the inner space. The animation will become fragmented by the participant, who is who adds "unpredictable" rhythm to the device, incorporating the presence of the participants in what concerns rhythm and space.