The Myth of Orpheus and Euridike

By: Chrizs & Christian

Project conversion

Due to the complexity of first history (Perseus) I (Chrizs) decided to select another story.
The jetztige work tells the myth of Orpheus and Euridike.

Orpheus is an oldest representative of the poetry, “der father of the Gesaenge” and the legend tells marvelous things of the power of its singing. When its wife Euridike fled once before the God Aristaios, which pursued her with its love, she stepped in the high grass on a queue and died by her bite. The Nymphen, their Gespielinnen, wept it that by the whole thrakische country Thaeler and mountains were fulfilled in their complaints far away.


Orpheus sat at the lonely bank and sang its deep pain out from the morning to the evening that whole nature of it moves ward. It decided last to descend itself even to the shade world whether perhaps it could induce the rulers of the dead ones to the return of the dead ones. Orpheus sang and played so agitating ways that the bloodless shade was not able to resist the requests of the singer; they called for Euridike and permitted it the husband to follow, but on the condition that he for it do not look around, until he reached the upper world. The loving rise the dark, steep path to the light are them up and already no longer far from the gates of the daily, there look themselves Orpheus, by love and concern overwhelmed, after the wife over, and immediately the wife must turn around. Fully despair returns Oprheus to the upper world and errs lonely in the mountains Thrakiens around. As the thrakischen Mrs., which racing in tumble the Bachos in the mountains curve, and fully anger that he defamed losses of its wife all love of other women after that, it falls it with furious Geheul over it and tears him up.


Project idea:
Orpheus’ Journey is to be made interactively experiences by the user. When model for the accessible space installation serves the way from the underworld to the upper world, which Orpheus must go. Depending upon position audio/visual inputs of history are told to the user. The arrangement of the inputs is not however linear in accordance with history, but arranged according to certain Kritrien (e.g. topographies arrangement).
Thus it is possible for the user to experience the Geschchte nonlinear and by own acting to experience parts of history more than once.

The accessible area should be as narrowly as possible developed, so that a body turn is impossible. Reason for it is a key scene in history. At both ends of the course IR distance sensors are installed, which measure the current distance to the user and via max of MSP the appropriate Mediadaten spend.

Source: Encoding Space 07 (Originally in German)