[in time time] (2008)

[in time time] 2008 An interactive new media installation

[in time time] involves two new media works: a split-screen video, titled [8 bits], and a context aware, interactive installation, titled [ping-pong-flow]. The pieces are bound together by their related concerns: consciousness and reality, time and memory, and the relationship of sender and receiver in a communication channel; yet differentiated in their embodiment and in their speculative vantage points, specifically in the way that images and human experience converge.

[8 bits] was filmed in Argentina. Its non-linear, split-screen narrative structure, explores the relationship of memory to consciousness. Viewers are enlisted as perceptual editors as they negotiate attention between alternating images, sound and text. The second piece, [ping-pong-flow], is an interactive, screen-based installation. Participants activate a responsive image, an avatar seemingly conscious of others. A circuitry of communication is created with the avatar and her ghosts, who react uncannily via ...

Full Description

[in time time] 2008 An interactive new media installation

[in time time] involves two new media works: a split-screen video, titled [8 bits], and a context aware, interactive installation, titled [ping-pong-flow]. The pieces are bound together by their related concerns: consciousness and reality, time and memory, and the relationship of sender and receiver in a communication channel; yet differentiated in their embodiment and in their speculative vantage points, specifically in the way that images and human experience converge.

[8 bits] was filmed in Argentina. Its non-linear, split-screen narrative structure, explores the relationship of memory to consciousness. Viewers are enlisted as perceptual editors as they negotiate attention between alternating images, sound and text. The second piece, [ping-pong-flow], is an interactive, screen-based installation. Participants activate a responsive image, an avatar seemingly conscious of others. A circuitry of communication is created with the avatar and her ghosts, who react uncannily via a number of gestures to the movements of viewers around a simulated pit.

The catalogue introduction is by Dr. Martin Patrick (Senior Lecturer-Critical Studies, Massey University, New Zealand).

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