{"id":863,"date":"2021-06-17T08:54:08","date_gmt":"2021-06-17T00:54:08","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=863"},"modified":"2021-06-17T09:42:17","modified_gmt":"2021-06-17T01:42:17","slug":"high-tech-works-at-tribeca-film-festival-ambitiously-ponder-what-makes-us-human","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/high-tech-works-at-tribeca-film-festival-ambitiously-ponder-what-makes-us-human\/","title":{"rendered":"High-Tech Works at Tribeca Film Festival Ambitiously Ponder What Makes Us Human"},"content":{"rendered":"

In 2018, a\u00a0study\u00a0conducted in Japan by a team of researchers led by Ryota Kondo, Maki Sugimoto, Kouta Minamizawa came to a striking conclusion about virtual worlds. All we need to have a sense of self in them, the researchers wrote, is simply a pair of hands and feet. But what would it take to have a sense of a body that isn\u2019t human? A few works at this year\u2019s edition of\u00a0Tribeca Immersive Storyscapes<\/a>, a branch of the famed film festival devoted to immersive installations, offer some answers.<\/p>\n

The piece\u00a0Critical Distance\u00a0<\/i>(all works 2021), directed by Chris Campkin and Adam May, brings us underwater to the aural landscapes of orcas. The only installation at Storyscapes that isn\u2019t a VR work, it depends on\u00a0augmented reality<\/a>\u00a0technology and holograms to bring to life the J-Pod, a small group of orcas who live off the coast of British Columbia. Its focus is something invisible to us land-dwellers: underwater noise, which orcas and other animals can sense intimately via echolocation.<\/p>\n

Rebecca Giggs, whose 2020 book of essays\u00a0Fathom<\/i>s<\/i>\u00a0centers around the aquatic world of whales, points out that it\u2019s easy for us to ignore what we can\u2019t even sense. But when viewers put on their HoloLens headsets, they\u2019re a step closer to understanding how sound affects the orcas. A narrator introduces us to the J-Pod as they circle viewers, clicking and whooping at each other, ripples of light cascading across their bodies as they feel their interwoven conversation from nose to tail. Then a quiet canoe oar dips into the water, disturbing no one. A small motorboat passes by, the sonar representation wavering just a touch. Finally, more boats come, then a large shipping freight. The lines of sonar that signify the orcas\u2019 full-bodied experience of sound start glitching and spiking until the whales appear to fade into a mass of jagged light, their bodies and sense of the world collapsed by a noise.<\/p>\n

This sensitive piece brings us a little closer to understanding what it\u2019s like to be an orca, but its effectiveness is brought to a stuttering halt by its insipid conclusion. It\u2019s not too late, the narrator says\u2014we just have to halt international boat traffic. It is this kind of un-actionable call to action that deafens audiences. When speaking with Amy Zimmerman, the writer of\u00a0Critical Distance<\/i>, she noted that in the year of decreased trade that Covid-19 provoked, three healthy baby orcas were born and are leading healthy lives\u2014a rarity which only highlighted the hopelessness of the situation. The installation will appear in an expanded form this fall at the Smithsonian National Museum<\/a> of Natural History.<\/p>\n

Felix Gaedtke and Gayatri Parameswaran\u2019s\u00a0Kusunda<\/i>, which deals with the loss of the titular language native to Nepal, falls into a similar trap. This installation is focused on the language\u2019s latest keepers and seems intended to inspire more to take up Kusunda\u2014a strange ending for an otherwise transportive, touching, and engaging 24-minute journey.<\/p>\n

The installation\u00a0Lovebirds of the Twin Towers<\/i>, directed by Ari Palitz, centers around a true love story that took place between two elevator operators in the Twin Towers. It is less engaging, with no interaction or movement, but it provides the opportunity to \u201cgo back [to the Twin Towers<\/a>] and be safe,\u201d as Palitz put it.<\/p>\n

Two other installations,\u00a0Inside Goliath<\/i>\u00a0by Barry Gene Murphy<\/a> and May Abdalla and\u00a0We Are at Home<\/i>\u00a0by Michelle and Uri Kranot, are more oriented toward using gameplay to bring viewers into their unique narratives. In\u00a0Inside Goliath<\/em><\/a>, we hear Goliath narrate his life, with a difficult childhood that gave way to an adulthood ruled by addiction and increasingly difficult episodes of psychosis. Meanwhile, we get the chance to play an arcade game that features Goliath, at times avoiding people, at others, collecting pills and cans of beer.\u00a0We Are Home<\/em>\u00a0allows for the most movement. In it, we explore a gorgeously animated and enigmatic story based on the Carl Sandburg poem \u201cThe Hangman at Home.\u201d Opening doors, windows, and cabinets triggers new parts of the narrative, causing tea to stir, a piano to play, and books to burn.<\/p>\n

Each installation is completely transportive, taking us to places we\u2019ve never been, or could have never gone, without this cutting edge technology. As the viewer steps out of this three-hour-long experience, the brief feeling of unreality serves as a reminder of how far we\u2019ve come\u2014and, perhaps even more pressing, how far we have to go.<\/p>\n

 <\/p>\n

 <\/p>\n

Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

In 2018, a\u00a0study\u00a0conducted in Japan by a team of researchers led by Ryota Kondo, Maki Sugimoto, Kouta Minamizawa came to a striking conclusion about virtual worlds. All we need to have a sense of self in them, the researchers wrote, is simply a pair of hands and feet. But what would it take to have […]<\/p>\n","protected":false},"author":2,"featured_media":864,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[],"class_list":{"0":"post-863","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news"},"yoast_head":"\nHigh-Tech Works at Tribeca Film Festival Ambitiously Ponder What Makes Us Human - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"In 2018, a\u00a0study\u00a0conducted in Japan by a team of researchers led by Ryota Kondo, Maki Sugimoto, Kouta Minamizawa came to a striking conclusion about virtual worlds.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.atelierauction.com\/globalupdates\/artist\/high-tech-works-at-tribeca-film-festival-ambitiously-ponder-what-makes-us-human\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"High-Tech Works at Tribeca Film Festival Ambitiously Ponder What Makes Us Human - 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