I'd be hesitant to call this an 'interactive' (even if they do) as there's no interaction beyond being able to horizontally scroll forwards and backwards. (I instinctively tried to click images a few times, to get zoomable versions or more information). As you move along, the info panels quietly update, in the manner of encountering a wall text as you enter a new gallery in the exhibition (I would've actually liked more of a cue that the text was updating so as to notice it more quickly - also, they're rather long on the lyricism and short on the fact).
At first, I really disliked the flattened approach. I've always enjoyed the art of laying out an exhibition in a three-dimensional space, the use of sightlines to lead you through the experience, the way works hung on intermediary walls can be part of more than one grouping. These full-frontal composite photos flatten out the viewing experience, and really do emphasise the nature of 'scrolling'. The one photo that does give you the sense of a built space instead of a flat page - above - is the weakest point in the experience. I wonder how it would (or wouldn't?) work for sculptural objects?
And yet, as I spent time with it, it grew on me. As my friend observed, it's far more enjoyable than that ghastly Google Street View zooming-around-galleries thing, which I dislike using (though I appreciate what the project's done in terms of loosening digital constraints). And I became quite fond of the intentionally unsmoothed photo composites, the places where walls and floors didn't line up.
And then I realised that fondness stems from years of enjoying encounters with Peter McLeavey's composite photos (modelled here by Robert Leonard and Jacqueline Fraser in 1986).
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