navigation

An navigation application, that gives you traditional (audio) direction and a poetic story about traveling, loneliness, homecoming, temptation, disguise, identity and exile, told by Tom, during the trip. Loosely inspired by Homer’s Odyssey and HAL 9000. Navigational software is something we daily trust and depend on – We have a somewhat personal relation with this type of software, what if it getsvery personal? – Tom is consious but has only one sense, his GPS – What does ‘life’ mean when you have juste one sense – What is Tom’s opinion on traveling?

Dorset's paranormal history dates back hundreds of years and continues to be a hotspot for unexplained activity.

In your role as a paranormal investigator, complete the interactive documentary by navigating your way through three of Dorset's most haunted locations. Only after discovering the stories behind them will you be able to escape. Good luck.

the space between us connects two people’s phones that are physically close. Once connected the app will display the spatial distance between each person and show an arrow pointing towards the other person.

--> is where you are

--> is where I am

As we move in different directions, our distances expand and contract. Our arrows move. Like a compass our phones will orient themselves towards each other, as if the other phone has become north. The arrow points away from the screen. Always, we are somewhere.

Across horizons, deserts, days, nights, the grids of cities, we face each other.

Source: David Horvitz

“Voies de fait” by Jean-Marie Dutey exploits the reader’s sensation of a lack of control to sent a strong political message. The reader has a physical and direct role in the poem. Like in a video game, the reader moves about the poem using the arrow keys on his or her keyboard. The reader’s avatar runs between or on the stanzas, which are arranged in blocks. At first it seems as though the stanzas continue infinitely. There is only one blue stanza—the rest are grey—to provide some sort of starting point. There are a total of five columns and five rows of stanzas. The stanzas repeat themselves in every direction so that if the reader’s avatar begins at the blue stanza and heads to the right, the reader will see the four stanzas that follow, and then again the blue stanza with once again the following stanzas. Here is the complete text (beginning with the blue stanza): VIVRE HEROS C’EST GRAND ARMEE OBEIR TIEDE IDIOT FRERE VERTE A CET QUE L‘ JE NE IBM QUE L’ ORDRE ENFER BANDE FERME ECHEC ENFIN CACHE PLUS ! L’ŒIL GAGNE C’EST CIVIL CRANE HEIGE BOIRE GRAVE CIBLE FENDU BLEUE L’AIR QUAND OTAGE PAR L’ SUR L’ QUAND TU ES D’UNE ACIER ECRAN L’EAU MORT ? HEURE TORDU VIDEO BAULE TIERS NOTRE COMME AOBOT VILLE MONDE PASSE SI LE TUEUR PUNIE QUE L’ ETAIT FUTUR QUE L’ RAYEE ISLAM AUSSI ETAIT OMBRE DE LA ROULE AGITE BANNI GRISE CARTE FLASH ATOME AUCUN ECLAT BETON BLANC EVADE AUTRE BOUGE VOIBRE TU AS DE L’ APPEL BOMBE GEODE MOINS OGIVE DE LA RAYON ATI- FROID POLIE TERRE LASER FUSEE MAMAN HOMME PLUIE MACHII SALUE MAMAN SANG- NOIRE L’AIR MAUVE OU TU FROID JAPON RUGIT QUE L’ ES ? ET CHAIR AVANT ET SE AVION PAPA ? ROTIE APRES BRISE LANCE The text can be read in multiple directions because there is no temporal reading, rather a spatial reading. Each stanza paints a strong image but is independent of the others around it to complete this image. The ensemble of images created by the stanzas tells the story of the Japanese bombings during WWII. The narrator sides evidently with the civilian victims who lost their lives due to a war in which they played no part. The title refers to the legal term “assault” or, more specifically, the illegal executive action taken by a governing body. The structure of the poem creates a link between the victims who could not escape and the reader who is lost amidst these lines.

Within an enclosed darkened room, the image of Beyond Manzanar's 3-dimensional space is projected onto a large, wall-sized screen. The life-sized image fills your field of view and gives you a feeling of immersion within the virtual space. A joystick mounted on a pedestal in the middle of the room allows you to move your viewpoint at will through the virtual space. Speakers mounted on either side of the screen provide stereo sound. Although only one person at a time can control movement in the space, others can watch and share the experience. We have combined techniques of computer games and theater design to create a highly symbolic, often surreal environment with a poetic reality stronger than photorealism. The mountain panorama that defines the Manzanar site forms a constant backdrop for shifting layers of superimposed context. Open doors lead viewers through spaces that react to their presence, shifting between home and prison, between paradise and wasteland, to investigate Manzanar as a layering of contradictory and complementary images and emotions for two groups of immigrants. Archival photographs of Manzanar Internment Camp alternate with paradise gardens constructed from ancient Japanese scrolls and Persian miniature paintings; images of the immigrant American Dream alternate with media images of betrayal and hatred. Sound is also an important mechanism to set the emotional and cultural context: The constant moan of the desert wind or the cool burbling of water from a fountain; the scream of war jets or a woman singing a love song. The virtual space is sensitive to your presence, shifting context around you to change your emotional relationship to the space. If you follow an open road, barbed wire appears to block your path. If you enter a dark barrack you may find yourself in a pavilion overlooking a paradise garden - that disappears when you try to enter it, as if you suddenly awake from a dream.