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and thus with the constitution of the ego as the consciously perceived self in the surrounding world. Now the picture seems dull, its resolution impaired, the contours confusing, changes in the light produced by shifting camera angles are perceived as flashes of lightning. The sharpness diminishes in the degree to which the projection surface appears, relief-like, to spread out.
projection beam (and indeed it is almost impossible to avoid doing so, because the slanted screen produces a Cinemascope effect). When viewed from outside the projection beam, the image on the screen is inevitably distorted. Contrary to one's expectations and the technically (optically, physically) logical conclusion the image does not vanish when one enters the cone of light. The opposite occurs. Viewed inside one's own «shadow,» the film can be seen more clearly, distinctly, and sharp-edged the superimposition is revoked, merely the picture beamed from the opposite projector shines through. As if entering the film itself, the visitor sheds his material covering and moves to another plane, becomes the projection means, and thus a part of the film and the plot. Now an 9apparition, : the viewer completes the ghost story. Phenomenal in the most literal sense is the word for what Stan Douglas has contrived and for his astute and precise implementation of this potential transformation. He turns the entire installation space into a laboratory, a trial setup in which the visitor is part of the experiment, and due to being desubstantiated even becomes the substance: