The Builders Association and dbox, SUPER VISION: VISUAL LANGUAGE
SUPER VISION tells three stories
1. As he crosses successive borders, a solitary traveler 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.
Allen Hahn
Allen Hahn: I think the thing that seemed very apparent from early on was that each of the three storylines needed its own visual language with regard to the lighting. It seemed critical that just as in the content of the projection and the animation each storyline had its own visual style and different vocabulary, so the lighting needed to as well. In the end the decision was to make the family seem part of the realistic animated space behind them. So that required pushing back the light levels to what at times seems just on the edge of visibility, or just on the more present side of visibility against this luminous background (....)
So it is an interesting push and pull and there was a lot of discussion - and still is a lot of discussion about what is the appropriate level of physical presence.
see also: narrative architecture | the traveller |
SUPER VISION credits
