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“Fictional characters on 1:1 scale that are all on their own in a gigantic space”

 
 
Wood, buttons, Raspberri PI, ATMega32u4, Hdmi Screen, Apache, Html, Css, Java, Gif Aimation
 
     
 

“Custom Animated Avatars that are stripped from their purpose
and are forced to live in the dark dungeons of a network controlled
environment for all eternity.
Controlled by the audience, the installation plays with the notion of
digital space vs physical space"

 
 
     
 
  A project by Marieke Verbiesen
in collaboration with Trøndelag Senter for Samtidskunst(NO) & De Nieuwe Vide Haarlem (NL)
 
  Production: Digifab - Coding: Steven Pickles (Hackerspace Adelaide)  
 

 

 

 
 

“Fictional characters on 1:1 scale that are all on their own in a gigantic space” aims to play with the immateriality of the digital space, through its networked ability.

The extent to which the interface suffuses everyday life is attested by the development of what is increasingly referred to as the “Internet of Things.” describing the communication between the Internet and uniquely identifiable objects, effectively enabling the Internet to reach into dimensions of physical space.

The installation consists of a custom-made interface that features a screen and buttons used to control the generated animated fictional character, stripped from its usual surroundings.
The audience is able to move the character around, who wanders around in an empty space.
This space, is inherently endless: it can regenerate itself countless times.
The same counts for the fictional character, as is it got extracted from a videogame, which can be swapped and changed for a new character with the push of a button.

The installation refers to the remote connections that are made through the Internet, with the
emphasis on realtime collective creation. While distance and spatial
relations do not vanish in the digital network, the spatial logic and the forms of exchange
(image, sound, information) that can take place in the new spatial configurations do
change radically. These processes are manifested by the realtime, performative aspect
of the installation.
Real-time computing requires the operating system to respond to commands without perceivable delay.
This form of computing development illustrates how the complexity and speed of new technology can cause both euphoria and anxiety. The increasing demand for instant feedback and
response provides a new sense of urgency that segments our attention and imposes lowlevel, reactive responses. In a hyperconnected society, the operation of an interface is a highly orchestrated event, requiring the user to dedicate a significant amount of perceptual and mental resources to the very act.


Just as twentieth-century modernism was determined by technologies of manufacturing, mass media, and lens-based imagery, the most pressing matter determining contemporary culture may well
be the sheer omnipresence of the Internet. The Internet’s reach was extended by the popularization of Web 2.0, a second-stage development of the World Wide Web characterized by
shared information, user-generated content, and the emergence of social networking. The Internet underpins the whole apparatus of communication and data processing by which our hyperconnected
culture operates. Without it, we would have no email or chat software, no computer-aided industrial
pro- duction, and none of the invisible interfaces through which we increasingly mediate identity, relations, and the world.


“Fictional characters on 1:1 scale that are all on their own in a gigantic space” refers to the
processes behind the fragile visual form of net art works. In the work, the semblance of a
stable image is undermined by the underlying process:
the capacity of endless transformation that characterizes the digital image.
The installations aims to investigate the role that the hardware, the physical machinery behind the
‘immaterial’ network, plays. The interface is an apparatus that affects the way its users perceive, acquire, and disseminate information, both online and offline.
In semiotic terms, the computer interface acts as a code that carries cultural messages in a variety of media.
The interface shapes how the computer user conceives of the computer itself. It also determines how the audience think of any media object accessed via a computer, not merely a neutral part of the computational process; rather, it has the capacity to impose its own logic on media.