—an analysis of an installation by Icelandic artist Dodda Maggý
The paper is an analysis of the sound and video installation Lucy by Icelandic video artist Dodda Maggý in terms of Gilles Deleuze’s conceptualization of the audio-visual image. It examines the way the work uses of moving images projected upon a screen in conjunction with emitted sound that fills the exhibition space. These inherently separate forms of presentation have become increasingly intertwined in sound cinema—where sound is a separate addition to the film being presented—and later in television—where sound and image are inherently coupled. With the advent of increased software manipulation and storage, these two mediums have become more and more hybridized so that projection and screen presentation have become more or less interchangeable. Dodda Maggý’s installation, Lucy, is an excellent example the way the visual image and sound function together in a hybrid cinematic medium; independently of each other at times but in a conjoint totality at others. It is this joining that Gilles Deleuze’s theory of the audio-visual image functions to shed light on. Conversely, an analysis of Lucy also serves to elucidate—and in a way complete—Deleuze’s ideas concerning the audio-visual image.