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Conceived with and for the AVIE system that offers an active immersion of the audience in a 360° panoramic stereographic video environment, La Dispersion du Fils extends the experiences conducted by Jean Michel Bruyère and LFKs around the Tragedy of Actaeon since 1999. It proposes to enter in the stomach of Harpyia, one of the fifty hounds of Actaeon, just after that the hunter who found naked Diana bathing had been killed, scattered and devoured by his own horde, as he was confounded with the prey. For the audience, La Dispersion du Fils is an endless journey in a half-organic, half-cosmic world, perpetually shaken and changing, only constituted by the chaos of the memory-images of Actaeon, as the enraged dog is filled with them and run an errand in the Canicula. Even though La Dispersion du Fils is made only from films and filmed images, there was no shooting, as it exploits almost all the films that Jean Michel Bruyère has conceived and directed for LFKs on the tragedy of Actaeon in the last ten years. A great amount of footage has however been re-edited for the occasion by Delphine Varas with a new soundtrack created by Thierry Arredondo, and here are more than 500 films that constitute the material of La Dispersion du Fils, organized in canine intestines, in sidereal beast, and in asteroid rain by Jean Michel Bruyère and Matthew McGinity, who was the software engineer of the AVIE system.


Jean Michel Bruyère with Matthew McGinity, Delphine Varas and Thierry Arredondo


Designed, Filmed and Directed: Jean Michel Bruyère

Software Design and Graphics: Matthew McGinity

Editing and Post: Delphine Varas

Music and Sound: Thierry Arredondo

iCinema Software Development: Xin Guan, Ardrian Hardjono, Jared Berghold, Alex Kupstov, Matthew McGinity

Hardware design, integration and installation: Damian Leonard, Robin Chow, Marc Chee, Densan Obst

CaMg(CO3)2 excerpts shot with ZKM PanoramaCamera and stitched by Bernd Lintermann

Co-produced by LFKs, Marseille, Epidemic, Paris, Berlin, iCinema UNSW Sydney, Le Volcan Scène Nationale, Le Havre

This work was inspired by and created for the AVIE (Advanced Visualisation and Interaction Environment) developed at the iCinema UNSW




AVIE (the Advanced Visualisation and Interaction Environment) is the world’s first artistically conceived 360-degree stereoscopic interactive visualisation and audification environment. Its state-ofthe-art resources enable the development of applications in the fields of immersive visualization and human interaction design. The basic AVIE configuration is a cylindrical silver projection screen 4 meters high and 10 meters in diameter. AVIE has a set of 12 high-resolution digital video projectors that together project a pair of 1000 x 8000 pixel polarized stereoscopic images over the entire 360-degree surface of the screen. Larger or smaller configurations of the AVIE system are possible. Thirty or more visitors use polarizing glasses to view the fully surrounding lifelike three-dimensional image. A cluster of seven high performance graphics PC’s deliver the image data to the projectors, including custom geometry correction and edge blending software. Content can be computer generated, photographic or video data, and any combinations thereof. AVIE is designed for single or multiple user interaction scenarios. Interaction devices can for example be a joystick, an iPOD, a 3D wand or a vision tracking system (see below). Complementing the unique visualisation and interaction features of AVIE is its spatialized audio system. This is a 12.2 channel system with custom surround audio application software. With its speakers situated behind the micro-perforated projection screen, this system enables fully immersive 360-degree surface of sound anywhere around the viewers. AVIE belongs to a vibrant history of painterly, photographic and cinematographic panoramic research that has been going on since the late 19th Century. It is also the culmination of over forty years of ground breaking artistic research done by Jeffrey Shaw in interactive immersive panoramic systems, complemented by new research into narrative and software systems at the iCinema Centre. AVIE incorporates radically new techniques of production and presentation as a means of releasing new forms of creative content and new types of immersive and interactive audience experience.


Concept: Jeffrey Shaw

Project Directors: Jeffrey Shaw, Dennis Del Favero Lead Software Engineer: Matthew McGinity

Software and Hardware Engineering: Ardrian Hardjono, Jared Berghold, Alex Kuptsov, Marc Chee, Robin Chow, Xin Guan

Project Co-ordination and Management: Damian Leonard, Ardrian Hardjono, Volker Kuchelmeister, Densan Obst, Kate Dennis, Sue Midgley, Joann Bowers

Projection system: F20SX+ with the generous support of Projectiondesign

The project was undertaken in collaboration with UNSW, ZKM

This project was supported under the Australian Research Council's Discovery funding scheme (DP0556659) and by grants from the UNSW Capital Infrastructure Grants and Major Infrastructure Initiative Schemes and the UNSW School of Mining Engineering.

《分裂之子》是让•米歇尔•布里埃制作的一个视频合集,他从拍摄于 1999 年至 2007 年间的500 多部视频片段中选取了超过 22000 个镜头,这些镜头都与希腊神话中的阿克泰翁悲剧有关,因为《分裂之子》本身即旨在探讨这个悲剧:它就是由阿克泰翁一系列混乱的记忆影像所组成。在阿克泰翁偶然窥见裸身的狄安娜正在沐浴之后, 就被自己的一群猎犬所咬死, 他彻底沦为猎物,其身体正被它们撕扯与吞噬之际, 组影像试图潜入这 50只猎犬当中某一只的胃部去观察和发现。在这样一个沉浸式的 360 度立体式互动环境中,观众可以随着影片叙事的推进而前行,去探寻组成线索的各个部分。同时,这些组成部分的形态和空间分布又处于一种无尽的重组与重塑的过程。当初制作《分裂之子》时,技术上便设定到让这个影像能够无间断地进行变化,它一次可以持续播放数小时甚至是数天。


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