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The Builders Association and dbox, SUPER VISION: INTEGRATION

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: At BAM you talked about SUPER VISION being transacted by the tools that it addressed or critiqued. This seems so much part of the fabric of this piece.

James Gibbs: If it that reads, then it is great. To be fair, I think that is also a hallmark of The Builder’s work generally. You feel that we have pushed it a little further?

Nick Kaye:Yes, absolutely. I do think that one of the things that SUPER VISION has managed to do is to take this frame, which in The Builders’ work has often been set above a performance space – for example in ALLADEEN and also in JUMP CUT (FAUST) – and bring it right down to integrate the performers into it, which again advances this notion of a scene being in some way responsive. This has all kinds of implications for the performers and is a very important move within the work.

James Gibbs: Well I really enjoy it after all – I really enjoy it and I really enjoy sort of seeing and feeling the performers in that frame and working with it. You didn’t quite have a question, but this not a real answer - but it is a sort of riff – but it is just so impressive every time to see all the performers. It is so easy to forget what they have to do within that structure. So easy to forget that in a lot of cases they are up there with the light shining in their faces, very little to look at – no eye lines to connect to and they are creating this engaging experience with each other in situations where sometimes one of them is inside the frame and one of them is outside the frame.

see also: interactivity |


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