Sarah Kenderdine and Jeffrey Shaw - UNMAKEABLELOVE (for the ReACTOR)








	UNMAKEABLELOVE


UNMAKEABLELOVE (ReACTOR) © Sarah Kenderdine & Jeffrey Shaw PHOTOS VIDEOS		UNMAKEABLELOVE is a revisioning of Beckett’s initial investigation that focuses and makes interactively tangible, a state of confrontation and interpolation between our selves and another society that is operating in a severe state of physical and psychological entropy. UNMAKEABLELOVE advances the practices of algorithmic agency, artificial life, virtual communities, human computer interaction, augmented virtuality, mixed reality and multimedia performance to engage ‘the body’s primordial inscriptions’. It locates Beckett’s society of ‘lost ones’ in a virtual space that represents a severe state of physical confinement, evoking perhaps a prison, an asylum, a detention camp, or even a ‘reality’ TV show. While in UNMAKEABLELOVE the inhabitants of the cylinder remain oblivious in their condition, and we the viewers of their world, with our probing torch lights and prying gaze, are positioned as the ‘other’, forced to experience the anomalies of a perceptual disequilibrium that implicates us in this alienated narrative. The resulting ambiguity and complicit agency in UNMAKEABLELOVE reinforces a perceptual and psychological tension between ‘self’ and ‘other’ generated by the works’ mixed reality strategies of embodied simulation. UNMAKEABLELOVE Copyright Sarah Kenderdine and Jeffrey Shaw 2008 Direction: Sarah Kenderdine and Jeffrey Shaw Sound Design: Ulf Langheinrich Modeling and animation: Conor O’Kane Software: Scott Ashton Systems integration: Yossi Landesman Motion capture studio: Deakin University Motion Lab directed by Kim Vincs Motion capture technician: Daniel Skovli Motion capture artistic directors: David Pledger (NYID) Sarah Kenderdine, Jeffrey Shaw Motion capture actors: Gerard Van Dyck, Dianne Reid, Fiona Cameron Architecture: Re-Actor (© 2008 Sarah Kenderdine, Jeffrey Shaw) Projectors: F20SX+ kindly sponsored by Projectiondesign, Norway Developed with the generous support of Museum Victoria, the UNSW iCinema Centre and EPIDEMIC.