Project Overview

ARC Investigators: Dennis Del Favero, Jeffrey Shaw, Neil Brown, Peter Weibel
Project Directors: Neil Brown, Dennis Del Favero, Jeffrey Shaw, Peter Weibel
Programmers: Matthew McGinity, Balint Seeber, Jared Berghold, Ardrian Hardjono, Gunawan Herman, Tim Kreger, Thi Thanh Nga Nguyen, Jack Yu, Alex Ong, Som Guan, Rob Lawther, Robin Chow, Tim Kreger
Project Funding: ARC DP0345547

T_Visionarium installation view

T_Visionarium was created for the UNSW iCinema Centre’s Advanced Interaction and Visualisation Environment (AVIE), and it offers the means to capture and represent televisual information, allowing viewers to explore and actively edit a multitude of stories in three dimensions. For T_Visionarium, 28 hours of digital free-to-air Australian television was captured over a period of one week. This footage was segmented and converted into a large database containing over 20,000 video clips. Each clip was then tagged with descriptors-or metadata-defining its properties. The information encoded includes the gender of the actors, the dominant emotions they are expressing, the pace of the scene, and specific actions such as standing up, lying down, and telephoning. Dismantling the video data in this way breaks down the original linear narrative into components that then become the building blocks for a new kind of interactive television.

T_Visionarium has been developed through three iterations. T_Visionarium I (2004-2005) undertook theorisation into multi-stream narrative using robotic technologies in a Dome visualisation setting. T_Visionarium II (2006-2014) investigates the navigation and recomposition of a complex narrative database within AVIE’s 360-degree 3D setting. T_Visionarium III (2015-2017) provides the ability for users to save their recomposition for latter processing within AVIE’s 360-degree 3D setting.

T_Visionarium video documentation

Two hundred and fifty video clips are simultaneously displayed and distributed around AVIE’s huge circular screen. Using a special interface, the viewer can select, re-arrange and link these video clips at will, composing them into combinations based on relations of gesture and movement. By these means, the experience of viewing the television screen is not so much superseded as reformatted, magnified, proliferated and intensified. It is the experience of this new kind of spatial connectivity that gives rise to a revolutionary way of seeing and reconceptualising TV in its aesthetic, physical and semantic dimensions. To use the T_Visionarium apparatus is not to view a screen or even multiple screens, but to experience a space within which screen imagery is dynamically re-formulated and re-imagined.

T_Visionarium actively and ongoingly explicates television but most importantly, it engages the domain in which it operates. Here, media is not an object of study but a material landscape in which we are component parts. T_Visionarium is a useable technology that locates us within a mediascape and makes us actutely aware of its operations, uncovering a televisual vocabulary of gesture. Stripped of its conventional narrative context, the aesthetic, behavioural and media qualities of television become strikingly apparent. And by affording us an active involvement, T_Visionarium hones both our awareness of and our dexterity with this media.

In essence, it is not so much a tool that delivers control of a mediascape but a mode of inhabiting our surroundings: a sphere of pure and endless mediality. In this and many other ways, T_Visionarium is a moment in the history of media: post cinema, post narrative, new media, but at the same time, a major study in television and an embodiment of a new media aesthetics.

Jill Bennett

(Cf: Jill Bennett, T_Visionarium : A User’s Guide, ZKM/UNSW Press, Karlsruhe/Sydney: 2008)

T_Visionarium "…an evolving digital tapestry”


  • T_Visionarium IV, ‘Art of Immersion’, ZKM Media Museum, Karlsruhe, Germany, 2017
  • T_Visionarium IV, ‘Aphasia – Düsseldorf & Cologne Open’, Galerie Brigitte Schenk, Cologne, 2017
  • T_Visionarium III, ‘Jeffrey Shaw & Hu Jieming Twofold Exhibition’, Chronus Art Center, Shanghai, China, 2014
  • T_Visionarium III, ‘STRP Festival’, Strijp R Klokgebouw, Eindhoven, Netherlands, 2010
  • T_Visionarium III, ‘Inaugural Exhibition’, ALiVE, CityU, Hong Kong, China, 2010
  • T_Visionarium III, ‘International Architecture Biennale’, Zuiderkirk, Amsterdam, Netherlands, 2009
  • T_Visionarium III, ‘Un Volcan Numérique’, Le Havre, France, 2009
  • T_Visionarium III, ‘Second Nature’, Aix-en-Provence, France, 2009
  • T_Visionarium III_, ‘YOUniverse’, ZKM, Karlsruhe, Germany, 2009
  • T_Visionarium III, ‘eARTS Festival: eLANDSCAPES’, Shanghai Zendai Museum of Modern Art, Shanghai, China, 2008
  • T_Visionarium III, ‘Biennial of Seville’, Alhambra, Granada, Spain, 2008
  • T_Visionarium III, ‘Sydney Festival’, UNSW, Sydney, 2008
  • T_Visionarium II, ‘YOUser: Century of the Consumer’, ZKM, Karlsruhe, Germany, 2007
  • T_Visionarium II, ‘Panorama Festival’, ZKM, Karlsruhe, Germany, 2007.
  • T_Visionarium I, ‘Artescienza: La Rivoluzione Algoritmica, Spazio Deformato’, Casa dell’Architettura, Rome, Italy, 2006
  • T_Visionarium I, ‘Avignon Festival’, Avignon, France, 2005
  • T_Visionarium I, ZKM, Karlsruhe, Germany, 2004
  • T_Visionarium I, ‘Cinémas du Futur, Lille 2004 Capitale Européenne de la Culture’, Centre Euralille, Lille, France, 2004