Toshio Matsumoto did not limit experimental film to unusual images inside a conventional cinema screen. During the late 1960s and early 1970s he worked with expanded cinema, questioning what his retrospective material describes as the standard “one projector, one screen” relationship between film and audience. For My Crushed Right Eye from 1968 could be presented with three simultaneous projections, while Space Projection Ako in 1970 pushed the idea further into spatial presentation.
This interests me much more from a VJ perspective than simply synchronising a video to music.
Once several projections occupy a space, editing no longer happens only in time. It happens across walls, screens and the viewer’s field of vision.
The audience effectively performs part of the edit by deciding where to look.
Modern projection mapping and realtime visuals have access to technology Matsumoto could never have imagined, yet the underlying question remains surprisingly current:
Why should a moving image stay inside one rectangle?
The moment that rectangle disappears, cinema begins behaving like architecture.
https://www.imageforum.co.jp/matsumototoshio/
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