Abstract
ABSTRACTThis paper explores how established light festivals such as the Fête des Lumières in Lyon and Lumiere in Durham were first conceived by Robert-Houdin as illusory illuminations in the Loire in the 1950s. The research investigates the concept of spectacles as inversions of reality; re-situating light works within authenticity theory by exploring their manipulation of magical reality and irreality. The research uses the authors’ experience of event design to assess different interactions of light with the tri-dimensional architectural canvas, suggesting three classifications of animated projection mapping events: architecturally passive, architecturally physically active and architecturally metaphysically active. Each category has implications for how spectators perceive these installations. Architecturally passive events may use fairy tale content, evoking atavistic and affective responses, the ‘skinning’ of buildings with magical reality is designed to evoke perceptual duality, and the wobbling unfolding of irreality may ultimately create a state of ‘illuminated flow.’
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