This research project originated in the questioning of the object in the physical space of the gallery and the temporal space on-screen in moving image installation practice. Over time, the study developed to become an investigation of the embodied empathetic responses to observing filmed action on-screen in a moving image installation environment.

This practice-based research developed over three bodies of video and sculptural work and although rooted in phenomenological approaches to knowledge development in the field of art practice, it draws on theory from neuroscience, which informs an understanding of mirror neurons, body schema, and tool use. In particular, this research utilises a series of tool-like objects being held and touched in exploratory ways to investigate forms of viewer engagement with moving image work through the conceptual lens of haptic visuality and embodied simulation. Through the presentation of monitor and projection-based digital video works, it examines the activation of viewer senses when observing the actions of others on-screen, interacting with objects.

This research contributes to understandings of the affective operations of moving image installation through a series of practice-based tests that draw on theories of cognitive neuroscience. In agreement with Vittorio Gallese and Michele Guerra, this research demonstrates that embodied empathetic responses and simulated re-enactments are generated through observation of action on-screen and these responses are most likely to be internalised. This research harnesses those responses in the interests of further understanding the immersive pull of moving image art installations that involve large-scale video projections of performers interacting with objects. This knowledge can be deployed by other practice-based researchers and by artists in different ways to secure/invite audience engagement or foster particular types of experience.