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Assembly
Angelica Mesiti’s ASSEMBLY is a new three-channel video installed within an architectural setting inspired by the historical shape of the community circle and amphitheatre. ASSEMBLY establishes as an evolving set of translations from the written word to stenographic codes then music, and performance. Filmed in the Senate chambers of Italy and Australia, the three screens of ASSEMBLY travel through the corridors, meeting rooms and parliaments of government while performers, representing the multitude of ancestries that constitute cosmopolitan Australia, gather, disassemble and re-unite, demonstrating the strength and creativity of a plural community.
Maud Ceuterick - 10.07.2020 - 12:27
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Daughters of Chibok
Team: Joel Kachi Benson (Director)
On April 14th 2014, the sleepy agrarian community of Chibok, in Borno State, North East Nigeria, was thrust into the global spotlight when the terrorist group Boko Haram, stormed the town at night and abducted 276 teenage schoolgirls from their dormitories. Daughters of Chibok deals with the aftermath of the kidnappings, and explores global issues of gender rights and the right to education.
Play area: Standing, 3dof
Number of players: Single-player
Built with: Gopro Omni
Maud Ceuterick - 14.07.2020 - 17:00
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Please, Don't Touch Me!
Don't Touch Me! (2019) makes the bullying dilemma of social media immediate and immediately perceptible, as the user harasses the avatar with every movement and triggers an emotional uneasiness that cannot be avoided. Like the analogue, the digital is ultimately about control, and thus the AI gets quickly annoyed and consequently commits suicide and thus becomes a will-less plaything. And with this a new avatar and serf for your enjoyment is born.
Solange Saballos - 10.09.2020 - 01:04
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The Renewable Sonnets of William Shakespeare (Volumes 1 & 2)
The larger project is my first foray into digital poetry that uses a relatively large data set, in this case, the complete sonnets of William Shakespeare.
In Volume 1, the user has the ability to stir lines from Shakespeare’s original 154 sonnets into their “own” creation and to render a screenshot of any particular stirring by pressing the “collect the ephemera” button. The user also has the option to “defeat the ephemera” and return the text to one of Shakespeare’s originals.
In Volume 2, the user does not have the ability to stir Shakespeare’s texts into their “own” creation as the texts are generative or “self-stirring.” Instead, the user has the opportunity to “read the ephemera” by pressing the “Thou shouldst print more, not let that copy die” button rendering a screenshot of any particular stirring. “Thou shouldst print more…” is the last line of Sonnet XI.
(Source: http://thenewriver.us/95-2/)
Lucila Mayol Pohl - 09.10.2020 - 11:01
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We Descend: Archives Pertaining to Egderus Scriptor, Volume Three
Work on We Descend began in 1984, when five words came unbidden into my mind: “If this document is authentic…” I had no idea what the phrase signified: Who’s saying this? What document? Why wouldn’t it be authentic? How would it be authenticated? By what authority? How would that authority be established? Where did the document come from in the first place? As I pondered these questions, a clutch of fragmentary writings began to appear under my hands — via the standard tech at the time: fountain pen, notebook paper, clipboard.
(Source: http://thenewriver.us/we-descend/)
Lucila Mayol Pohl - 09.10.2020 - 11:18
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Shadow Trees
Shadow Trees compiles and animates images of urban nature. Focusing on shadows cast by trees onto walls, buildings, pavement, and the trunks of other trees, Jody Zellen is able to investigate places where natural and built environments overlap and touch.
The short video disrupts audience expectations of nature films and photography, which are often framed to limit or erase the presence of humans, so that trees are shown to exist in forests, not in city blocks. In so doing, such photographic conventions comfort us by removing our role in the precariosness of their existence, particularly in large metropolitan places like Los Angeles where carbon emissions choke human and nonhuman life alike.
(Source: http://thenewriver.us/shadow-trees/)
Lucila Mayol Pohl - 09.10.2020 - 11:36
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Rozsypne
ROZSYPNE is een literaire non-fictievertelling, gebaseerd op een werk van de Nederlands-Oekraïense schrijver Lisa Weeda. In ROZSYPNE brengt Studio ZZZAP je terug naar de zomer van 2014, het moment waarop het gewapende conflict stevig op gang kwam. Je stapt de wereld van de oude Nina binnen. Zij probeert zo goed en kwaad als het gaat haar dagelijks leven op de rit te houden. Nina vraagt je een moment mee te draaien in haar huishouden, aan de vooravond van de MH17-crash.
Siebe Bluijs - 28.01.2021 - 10:09
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No World 4 Tomorrow
“You and CO2” is an innovative, interdisciplinary project combining research and public engagement activities to encourage young people, aged 12-15, to engage with the global problem of climate change on a local scale and to commit to behaviour changes that will reduce their carbon footprints.
Through three workshops delivered in class, we educate the students about the role of carbon dioxide in climate change and the carbon dioxide emissions associated with everyday activities. The students read/play No World 4 Tomorrow, a custom-built interactive digital fiction on climate change, and then create their own interactive stories on the topic.
Hannah Ackermans - 06.04.2021 - 10:43
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Een hele echte
'Een hele echte' is a story told through emails that readers receive in the course of 14 days. In the story, Helen is looking online for a new bass gitar. She stumbles upon Tarak, who is not a real person, but an artificial intelligence entity. Helen experiences the enormous influence of her live on the internet, which is completely taken over by Tarak.
David Peeters - 14.05.2021 - 12:54
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Lezer
Samen met Kurt Demey ontwierp ik de installatie ‘Lezer,’. Het bovenstaande gedicht wordt daarbij op een magische wijze ontsloten in bibliotheken. (Het is moeilijk om uit te leggen, je moet het meemaken!)
David Peeters - 17.05.2021 - 14:06
