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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: Are there any particular sources, artists or modes of work that are influential on your work?
Dan Dobson: Well, I have noticed that video game design is very much like the way we work. It is really music that is there to support - and it grows interestingly through the course of a game. The guy who has done that - Amon Tobin, who I guess is from Canada – I have always been interested in his music and influenced heavily by his work. He is a sample junky. I did a lot of that in this show - just sampling myself playing an instrument, but then making that not sound like an instrument. He did a video game score – The Splinter Cell: Chaos Theory - a Tom Clancy game. It is like a spy game. I think I read somewhere that he said it was a crazy amount of work – but really very interesting and works in the same way that we think of music with something else going on top of it. The music has to change and so he built a series of loops - and if you do something then it is going to revert to this loop, if you do something else it will go in another direction. He had to build all these different feels. The technology around it is quite interesting, I think.
see also: interactivity | soundscape |