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The Builders Association and dbox, SUPER VISION: PERSPECTIVE

SUPER VISION tells three stories

1. As he crosses successive borders, a solitary traveller gradually is forced to reveal all of his personal information, until his identity becomes transparent, with no part of his life left outside the boundaries of datasurveillance.

2. A young woman (Jen), addicted to the white noise of constant connection, maintains a long-distance relationship with her Grandmother. As she makes efforts to digitally archive her Grandmother's past, the Grandmother slips into senility.

3. A father covertly exploits his young son's personal data to meet the demands of the family's lifestyle. This ploy escalates beyond the father's control, until he is compelled to disappear. His wife and son are left with a starkly diminished data portrait, and his escape is shadowed by the long reach of the datasphere.

James Gibbs

Nick Kaye: Stewart Laing also curved the edges of the set, so softening its relationship to a cinema screen. In fact, haven’t you also curved the family room? Because that has quite a subtle but profound affect on the way you see it.

James Gibbs: The impulse for doing that was practical, in the sense of knowing that the sight lines were going to vary widely in these venues. Everybody’s eyes are so good at picking out problems in perspective. All you need to do is have a true perspective, to see lines converging to a vanishing point, to really lock your head into knowing what is wrong with what you’re looking at. And the curvature – the distortion - is really a way of avoiding those lines, which I think, as you say, is really softening its relationship with real perspectives.

Uploaded Image Onstage: David Pence.
Photo by dbox

Nick Kaye:It also produces a curious kind of embrace, too – an embrace around the performers that brings them into the scene -

James Gibbs:Like a cyclorama - a sort of nineteenth century painting idea – it is a fake out perspective that people kind of buy. We did try putting a few things up without any distortion of that curvature and found that they looked great about from the sixth seat, and terrible anywhere else, so practically we found this experiment was working.

see also: John Fletcher Sr. | the 'crush scene |


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