Systems Maintenance (1998) consists of three versions of a furnished room. An ensemble of life-sized furniture occupies a large circular platform on the floor, a virtual room is displayed on a computer monitor, and a 1/8 size physical scale model of the room is presented on a small pedestal. Each version is imaged by a camera (either video or virtual), and the three resulting images are combined into a single large-scale video projection. The camera position, height, angle and field of view are matched between the three cameras. By moving the furniture and camera viewpoints for each of the three rooms, visitors can match or mismatch the components of each of the rooms as they appear in the projected image. The three video signals are fed to a pair of video mixers which are used to perform an additive mix of the three signals, and this combined signal is sent to the video projector.
On the screen it's nearly impossible to distinguish the images of each version's furniture from those of the other models. Until something is picked up, or pushed, or clicked, it is nearly impossible to tell whether it's in the same "world" as you are. The participants are simultaneously inside the room, looking down on it like a chessboard, and interfaced with it. The video projection becomes, in effect, a "fourth room" where hands, bodies and gadgets mingle in the same hybrid space - a confused space that allows us to enter a virtual world - and, more significantly, allows that same virtual world to invade our own. The goal is to line up the furniture, but achieving this goal is hardly the point of the piece, which functions equally well whether it is moving toward a state of order or disorder at any given moment.