"Monumental" and "interactive" are two key descriptors of three "light art" installations on display until recently at the New York Hall of Science, site of the 1964-65 World's Fair. Each of them, including "Dark Matter" by Paul Friedlander (shown here), was designed to take advantage of the building's cavernous Great Hall, involving viewers through the use of interactive technology. The three "sculptures" were finalists in LightForms'98, the first ever international competition of light art sponsored by Art & Science Collaborations, Inc. (ASCI), an artists' group.

The competition was a way of drawing attention to "light art," said ASCI founder and director Cynthia Pannucci. "We chose the New York Hall of Science in part due to the attraction of this awe-inspiring space. We wanted ot draw attention and create an eye-catching, artistic and provocative exhibit."

"One of our goals was to show the public, and especially architects, a new way of thinking about light. Frequently, light is thought of in terms of daylight, but there is more to light than illumination. For instance, in winter, when daylight is short and light levels are low, light sculpture can create excitement, lift emotions, and be aesthetically pleasing. "We wanted architects to be stimulated," she said, "turning them onto the possibilities of light art."

The installation "Dark Matter" was inspired by a spinning jump rope. Museum visitors interact in a defined area, with beams of light and sound that control movement of the vertically oscillating "virtual" sculpture. Rapid movement of the 20-foot-high, taut wire rope leaves multi-colored trails of light, reminiscent of a strobe light, spinning and changing colors.

The visitor is able to interact via one of two sensors: one changes the color of the sculpture; the other sensor changes the speed of the rope, effectively creating a new shape as well. With the visitor in control, the wire rope creates an emotional whine, almost like a harp, while the volume modulates with the changing speed of the rope.

British artist Paul Friedlander developed his winning entry over many years in a process that required many models and small installations. Using the latest in theatrical lighting technologies and computer control, he was able to create "chromastrobic" lights which demonstrate multi-colored light in a new and striking fashion.