at the Experimental Art Foundation, Adelaide
Throw |Mari Velonaki | Aust | 2002
The Glass Bell | Sophea Lerner | Aust | 2002
[odys]elicit | Nathaniel Stern | USA | 2001
L'apr's-midi d'un avatar | Mathias Antlfinger & Ute Hoerner | Germany | 2001
[odys]elicit | Nathaniel Stern | USA | 2001
Nathaniel Stern's (http://nathanielstern.com) non-aggressive narrative (NAN) proposes the "continuation of a story which is just unfolding" (Benjamin). By embracing memory as a collage in motion through multiple characters, the NAN implies an origin story that may or may not have occurred. You are invited to co-invent this everting 'past,' in the present, and its openness suggests possibility and multiplicity. Alongside the NAN, the self is unfolding and in process...
L'apr's-midi d'un avatar | Mathias Antlfinger & Ute Hoerner | Germany | 2001
Data projection, VRML, Dialogue between two synthetic characters, 28:00 min, loop. A night-time landscape. Two human avatars are strolling down a road. They talk about various communities, especially ones with non-human intelligence. They talk about their love for parrots and computers, about attitudes taken to art from former East Germany, about an Indian yogi and his field research, the social skills of the Borg Collective, and the superior logic of the Vulcans. The conversation ends where it begins.
Throw |Mari Velonaki | Aust | 2002
Mari Velonaki: concept/ interface design/performance Collaborating with:Gary Zebington: software design/performance and Shannon O'Neill: sound design In Throw two projected characters (a male and female) become moving targets as the audience is invited to throw soft satin balls aiming at them. The participants gradually discover that what had seemed at first like an easy task is rather challenging since the characters' 'vision' is faster than human. On the rare occasion of hitting the 'target' it becomes dismorphed. The velocity of the hit determines the level of the disfigurement.
Throw is an interactive installation which aims to investigate the dialogical possibilities between the audience and digital characters in relation to current cultural and technological developments. It utilises soft satin balls as an interface and the act of throwing as means to interaction. Charged with fun-fair flair and structured as a game, it provokes the secrecy of the st
Throw is part of the Mutual Exchange Series. Supported by: Newton Research Labs, USA and
Australia Council for the Arts/New Media Arts Board
The Glass Bell | Sophea Lerner | Aust | 2002
Based on some stories about Sophea's grandmother's village of Kello, in northern Finland, where she was born and grew up, stories that she brought with her when she left... The Glass Bell explores what falls between languages and places when we leave and how stories become placeholders for what cannot be spoken. The central feature of the work is a giant touchscreen with water running down it an audiovisual surface that responds to gestural input from the audience.
Somewhere between a musical instrument and a game, the audiovisual narrative unfolds as part of a feedback loop between the player and what they see and hear. This work has no hotspots or buttons, what counts is how you move your hands, not where you touch the screen. The surface of the screen and the sound environment move in and out of different modes of response depending on how audiences interact with it.
"Here you are on the surface of language, skating on thin ice, what you are saying, the words, are not your mother tongue. You have never learned to speak her language..."
[odys]elicit | Nathaniel Stern | USA | 2001
L'apr's-midi d'un avatar | Mathias Antlfinger & Ute Hoerner | Germany | 2001
Throw |Mari Velonaki | Aust | 2002
The Glass Bell | Sophea Lerner | Aust | 2002