First an Introduction

(extracted from The Core)

Element 1: Manovich suggests that as we live in a world saturated with dense information surfaces, as we become used to working with multiple windows and computer applications, density in cinema becomes "highly appropriate". (Manovich 2001, p.328)

Element 2: Manovich speaks of "spatial montage", referring to "multiple streams of audio-visual information presented simultaneously". This spatial element to cinema becomes applicable in this age of digital compositing, and arguably adds a new dimension to the temporal "logic of replacement" found in conventional cinema. (Manovich 2001, p.325)

Now consider this a contextualising statement

The Machine Theatre is a multifarious structure that explores both "information density" and "spatial montage" as concepts. The journey is non-linear and also non-conclusory... some parts of this web structure can be seen as challenging or problematising the notions that Manovich expresses. Other parts can be seen as demonstrations of these concepts, applications of these concepts in assorted case studies, and aesthetic explorations of the degree to which these concepts are "satisfying". (Manovich 2001, pp. 325, 328)

• Detail problematises the concept of information density, exploring the idea that the world in its entirety is just as informationally dense as any computer interface, and hence that "conventional" pre-digital cinema had the potential to be similarly dense. Perhaps digitisation changes nothing. (Note that this section features two contrasting viewpoints).
• Density takes us to the edge of the "information surface", forcing us to question where the borders lie between one "surface" and another. What is "information"? Does spatial montage necessarily involve multiple forms of information?
• Perspective explores the possibilities allowed for by digital compositing, effectively allowing us to disregard space, time, and monocular perspectives in relation to our perception of singular objects.
• Focus looks at the significance of conscious attention in our ability to process information — while digital compositing can break the rules of "depth of field" to bring us everything in focus, our ability to process information remains the same.
• Nightmare demonstrates to us the significance of borders and straight lines in our ability to make sense of the world. This dependence on frames and borders will be manipulated in a vaguely malicious fashion, as the section challenges our conceptions of distinct information surfaces.
• Hypercinema is a cryptic, time-based excursion in which the problem of distinct "borders" in spatial montage is magnified. We see that our certainty in identifying "separate" images lies in 'the power of the straight line'. (You have not finished the journey until you find a home link at the end. Remember this)
• Case Studies involves an analysis of several recent video works (video clips to tracks from This Binary Universe), in relation to Manovich's concepts of density and spatial montage.
• Cognition explores the possibility that the human brain is hardwired to process information in a linear (non-spatial) fashion, based on studies in cognitive psychology and human memory.