ABSTRACT
Nam June Paik’s Sistine Chapel (1993) was an award-winning installation based on CRT projection that immersed spectators in an all-encompassing audiovisual experience. Its reactivation decades later with LCD projectors calls for analysis of this technological migration. After all, the physical properties and unique visual qualities of CRT projectors shaped both the artwork and the user-creator experience, aspects that cannot be easily replicated with contemporary display systems. The application of James J. Gibson’s affordance theory helped in analysing the interactive role of the CRT projector and provided insight in hands-on media sessions. The research argues for the inclusion of these embodied affordances in conservation practices and emphasises that time-based media artworks are inherently dynamic and dependent on evolving technologies and human interpretation.
