[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 ...
Full Description
[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).
Work metadata
- Year Created: 2008
- Submitted to ArtBase: Saturday Apr 26th, 2008
- Original Url: http://www.eiu.edu/~intimetime/
- Permalink: http://www.eiu.edu/~intimetime/
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Work Credits:
- Pat Badani, creator
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