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The One and The Multiple an artwork designed in response to Frank and Eunice Corley’s photographic collection of Brisbane’s suburbia. It departs from the construction of image as a transitional element, built in our minds through empirical experience. Similar to photographer Frank Corley’s work process, in order to represent space, one has to be present. Understanding Corley’s photographic collection as an ontological database oriented by the question of the one versus the multiple, the artwork exposes the decision that affects the work on two distinct levels: effects arising from the specific manner in which Corley privileges the multiple over the one, and affects arising from the very fact that the collection starts with opportunities in multiplicity.

The creation and appropriation of The One and the Multiple is not based on the image itself, but rather on its empirical connection to people. Through the use of drone-captured photogrammetry and point-clouds, data is translated into a multimodal spatial experience, which abstracts how and why one may become influenced by a photograph through a digital deconstruction of the image and its subsequent materialisation. Nonetheless, as one is constantly immersed in space, our mental space is constantly producing new paths or connections, either consciously or subconsciously through the technicity of the artwork. Folding inward, The One and the Multiple reveals photography as a visual dialectic that is altered in the immersive and multimodal use of virtual reality. As a form of enquiry, The One and the Multiple reveals a philosophy that is always dynamic, exposing relations between concepts and categories of the Corley Collection.

This paper aims to express the role of interactive space in social relationships through Actor-network theory. It considers interactive space as an active participant of social relationships, an actor within a heterogeneous network of human and non-human components. Actor-network theory is applied as a methodological tool to understand how does society communicate with interactive space, what signals are used for it, and what are the stages of involvement into this communication. The article describes using a full-scale interactive space prototype as a proof-of concept to test and analyze various ways of realtime communication between visitors and the space, assess their responsiveness to different types of signals, and how participants behave. In order to analyze participants' experience, they participated in a survey that has been quantified and expressed in a table. Obtained data allows to understand the most effective ways in shaping visitor's behavior and communication with interactive space.