The Labyrinth as immersive multimedia environment: Marshall McLuhan at Expo 67

Abstract

This article examines the Labyrinth, a multi-screen pavilion created by the National Film Board of Canada for the Montréal World Exposition in 1967. Within the Labyrinth, audiences were corralled through three chambers, each containing immersive multimedia environments that were designed to represent the chapters of an essential human life. The National Film Board envisaged the Labyrinth as a ‘new kind of instrument for communication […] created by the marriage of two ordinarily unrelated fields — the art of cinema and the art of architecture’. The purpose of this article is to evaluate the exact nature of this marriage of mediums. We will specifically focus on assessing the ways by which architectural space curated the phenomenological and epistemological relation that the audience had with the cinematic presentations in each chamber. Based on archival and primary sources, our research traces the design development of the Labyrinth and interprets its significance by employing Marshall McLuhan’s concepts of visual and acoustic space. As such, the article demonstrates how the Labyrinth modulated the balance between meaningful and affective modes of communication within its telling of the human story.