Installations

 

By Any Other Name: The Old City (2000) Brian Judy and Claudia Vess

Visitors to this installation could take a virtual tour of Jerusalem through a 3D representation of the Old City. Push buttons activate lit indicators in the model to help users find important landmarks. During the opening specially selected Asian jello candies were provided for spectators who could contribute the used packaging to the work.

 

 

 
4 Player Video Game

4 Player Video Game (1993) Brian Judy and James Harman

 

This installation is an attempt to create a small, synthetic, social environment where participants commune through a video game-like presentation. Somewhat like the old table-top games such as PACMAN, this device consists of a standing height, rectangular table with one of four joysticks on each side. In the center is a computer monitor, face up, where players and spectators can view the action.

Various sprites are depicted on the monitor, with associated sounds, that are affected by player's manipulation of the joysticks. Each stick controls a different colored representation of a hand. Through experimentation or from asking others how to play, players learn to guide their hand around the on-screen space, affecting the environment through 'contact' with both human and computer controlled sprites. It is hoped the character interactions will foster a small socialization where participants develop alternative relationships for a short time.

In an attempt to encourage the social intercourse, game programming promotes collaborative activities such as control sharing and assisting fellow players while competitive actions are obstructed. Also, the table arrangement design brings people in close physical proximity to each other. Further, unlike most video games, this one has no object or goal the players must satisfy. Their only rewards are the game experience and the interaction with other players.

The video game format provides a highly responsive and somewhat anarchic medium that allows for ample variation in experience. The video game medium can cause the interaction to be more accessible to those who might hesitate in social settings. It is a captivating form for artists who want to share their creative authority with others while appropriating a unique icon in contemporary popular culture.

Air Powered Triptych (1992)

In this piece touch comes to the forefront of the art-participant relationship to explore the ever changing perception of our physical presence in these times of technological phenomenon. Using microprocessor controlled pneumatics as an alternate computer interface, unusual relationships are sought between participant and machine/art piece. A computer monitor embedded in the center triptych panel displays graphics which can be influenced by spectators operating the interfaces.

On the right panel is a figure with embedded medical syringes for hands and an inflated belly. When spectators plunge the syringes, moving sprites on the computer monitor, representing human sperm, are accelerated. Spectators can also massage and poke the distended belly, which influences the movement of an ovum sprite. If either sperm intersects with the ovum then a new image appears on the computer monitor and the left panel is activated.

The left panel contains a figure with 2 rubber medical gloves as hands which are inflated when the panel is triggered. The gloves are used to control a sprite on the monitor that is made of hands and a head. Participants learn that by alternately squeezing the gloves the sprite can be 'walked' around the screen. If this sprite comes into contact with a marauding 'viral' sprite the panel is deactivated and the interaction restarts with control returning to the right panel.

With the emergence of robotic science the human body is being increasingly supported, and superseded, by machines. This great transition from the reliance on living to non-living tissue brings forth questions of sacredness and uniqueness. The touch sense is becoming devalued as more of us spend greater amounts of time with equipment that processes information rather than relating to others physically.

Air Powered Triptych 

 

 Ritual Space (1993)

A small room with walls of draped black cloth, a back lit canvas ceiling and a television monitor facing up in the center of the floor, are the major visual elements in this installation. Spectators are invited inside to gather around the TV where they can interact with the environment and mingle. By standing on pressure sensitive switches under the floor, participants effect changes in sound, lighting and images displayed.

Animations of surreal places appear on the monitor and are controlled by a laser disk player. At key points the animations stop and branch to other animations dependent on which floor panels are being stepped on. Additionally, simple percussion instruments and other sounds can be separately triggered by the floor panels to simulate a rudimentary drumming circle. Animated lights that dim, brighten and flash are also intended to contribute to the ambiance. This interaction attempts to provoke visitors to move throughout the space and to participate in an atmosphere of mystical congregation aided by technological wonders.

 
 3D Animation : Multimedia : Web : Art : Booga Holler : Resume