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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.
Nick Kaye: Do you think of your work as engaging directly with this exchange between the media and the live presences?
Dan Dobson: Well it informs the way I make stuff, because I make stuff that somebody can talk over. I am not going to take up the space. It’s like jamming with the band - that give and take. There is always the idea of true interactivity - having an actor wave their hand and pass it through a light beam and make a sound out of it. But for the purposes of theatrical entertainment where someone sits in a seat and watches the show, that just doesn’t work. That kind of interactivity between the performers and the technology, as far as the sound goes – just becomes much more trouble than it’s worth. Instead, having a soundscape that can shift with them is enough interactivity.
see also: improvisation | playing technology | video game |