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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 see the mediation of yourself?
Tanya Selvaratnam: Oh yeah! I have to be able to.
Nick Kaye: How does it affect your working with the other performers?
Tanya Selvaratnam: Well, I am not working with any other performers. It is a challenge, because I am working with Moe Angelos’s projection as my grandmother, but she and I have such a great rapport. It feels more self-created than other performances that I have done. You feel very alone up there. When you have an established rapport with your fellow performer you can expand more. You have that building block.
The other most recent show I did was House/Lights with the Wooster Group. I don’t know if you saw that - there I was with six wild performers on stage. This is a more lonely experience. But it’s fine, I am not saying that one is better than the other; it’s a very different experience as a performer.
see also: double consciousness | playing to camera | performer presence |