As far as the author knows, 3DCG is mostly used to extend the creator’s sensibility and creativity. On the other hand, heavily computer-dependent works seem more like demonstrations rather than artworks or way of expression. However, the author believes that creating audiovisual works based upon principal features of the computer, rather than human creativity or work is possible. This might be a new opportunity to find new approaches. This is a report on how a completely computer dependent audiovisual work gives impact on production technique through the audiovisual work “delusional sculpture”. More specifically, production of an audiovisual work based upon two functions of computer; physics and simulation capabilities and the possibility of composition techniques. In addition, compare the work with some proceeding examples to evaluate the novelty and creativity of this work.

The aim of this paper is to shed new light on the various functions of our body as a kind of image processor. To this end, I attempt to analyze Divina Commedia: Praxis for Death, held in Kobe Xebec Hall in 1991, and compare it with virtual reality in light of Henri Bergson’s philosophy. While being inspired by virtual reality, which became widely known in Japan in 1991, Divina Commedia searches for another reality as if to keep step with Near Death Experience Research.

Mark B.N. Hansen, for example, proposes to call the entire process by which information is made perceivable the "digital image". Digital images are materially dynamic micro movements and as such become images through the body. From this perspective, we can argue that in this digital era, we are image processors before we are spectators or observers. However, the act of our perception or memory does not concern only the generation of digital images, nor does it always stay constant. It changes dramatically by the condition of our body. Divina Commedia artificially simulates a particular kind of body condition in the participant, and such a condition directly affects the generation of recollection-images. That is to say, this experimental work is an image generation system, including floating bodies as image processors, and seeks to access the “virtual” (in Bergson’s terminology) past.

The aim of this paper is to bring out the consideration of spectator’s experience from the argument of the affection-image in Gilles Deleuze’s Cinema. To begin with, this paper tries to distinguish affect and affection, which Deleuze seems to use in the same way through two cases of affect, that is “real connections” and “virtual conjunctions”. As a result, it becomes clear that in “virtual conjunctions” affect rests to be virtual, pre-individual and is felt by spectator’s body and, on the other hand, in “real connections” affect is actualized and perceived or recognized as affection. Furthermore, through the reference to Alois Riegl’s Late Roman Art Industry, the experience that the chain of pre-individual affects through “false continuity” gives to the spectator is treated as tactility of “any-space-whatever“, which Deleuze discussed as one of the affectionimage. In addition, against Riegl and Deleuze, who both try to subsume the tactile to the optical, spectator’s passive experience which doesn’t subordinate to the optical is discovered in the tactility of “any-space-whatever”. Finally, it will be revealed that through the analysis of Alice in the City, the theoretical potential of “any-space-whatever” that deviates from the sensori-motor link of movement-image but leads to the time or the spirit which the whole of image as the duration expresses.