Perry Hoberman
The Simulcasts (1982) are misshapen movie screens, crackpot radar dishes, warped billboards; each is a broad white surface, roughly convex. They are mounted on the walls of a darkened room, just above eye level. Each screen is punctured by several translucent plastic megaphones, aimed at one of the other screens, each screen "addressing" the others. But rather than amplified voices, projected images are shot through the megaphones, hitting the other screens, across and around the room. These images are scrambled and warped by the screens, broken up by the megaphones which interrupt them in order to project a different image. Each screen is both source and destination of multiple images. A complex pattern of reciprocal and opposing lines of sight is mapped out, prefiguring the gaze of the viewer who steps into the room.