FARM is a net-based installation in various dimensions with the emphasis on science and fiction as well as a reflection on Web2.0, a purpose on recycling artists' materials, and a known technology as we regarded as “open source.” Users can participate in generating actual time photomosaics that portray sequential movies within the mosaic itself. It consists of indefinite temporal images on the web query to seek for the meaning of narrative structure that is a script run by A.I. (Markov chain) based on a screenplay, a parody of George Orwell's Animal Farm, rewritten for the simple utterance including a few platitudes. Micro and telescopic two-way TVs and monitors mirror the conjectures about the movies of "two different species, that interacts together to form a multiplicity." It approaches a vertical intertextuality towards a hypertext, for the democratic social networking.
The project aims at animal (including human) environment based on sociocultural evolution of intersection and interaction. It is a metafiction of art and technology, whether it is high or low, that beckons such as real-time generated photomosaic movies imply a complex meaning as a particle of a full picture. Besides, it has a general usage; a method of protection in media or protective device. Generated by non-hierarchical entry and search results in data visualization and interpretation, this transitional fiction consists of non-linear structure. It is involving our expanded horizon pertaining to trans-species connections. "Rhizome," as the term of Deleuze and Guattari, describes a multiplicity; What we envisage a non-linear and peripheral movie is distinguished from a system with linear and vertical relationship. The situation of the web is now a hybrid of identities, and relatively changing through the networks and end-users. It approaches to the level of etymological idea, that shows a rhizomic environment, made of a symbiont.
The installation exposes the meaning of "elephant in the room." The idiom is considered to be interpreted as all things in nature, i.e. universe, that one can only conceive a part of the whole. Seemingly created as a compound installation, but transformed into "all things in crates" circumnavigate Web2.0. The data, temporarily collected from the web image search result, regenerate movies compositing by thousands of photomosaics diverge to the modified micro- and telescopes, storytelling devices, and customized screens.
When the characters talk each other about a given subject on the FARM with other online participants, the conversation assimilates the context to a certain norm, so that the story continuously evolves itself. This new variable screenplay provides not only an actual information but also a virtual scenario towards a hypertext that will conglomerate a mise en abîme of science and fiction. Sounds and visuals are triggered by the screenplay, significantly run by A.I. through database, which is referred as a probability distribution, and where all performative utterances and conversations are contained in the present state. This goes to mingle with others' voice from social networking and micro-blogging website, that allows us to communicate between the narrative figures in fiction and the beholders.
Our screenplay entitled "Le Retour du Cochon (The Return of the Pig)" (2009- ) is a parody of "Animal Farm" (1945) by George Orwell. Originally motivated by a personal level of experience, but also woven by anonymous users (potential protagonists) who make a variable screenplay possible. A literal rendering of "Animal Farm" will melt down its didactic message. However, in the sense of appropriation, its circumstance is still relevant to forgotten monologue or dialogue in-between us. It will translate the poetic prose of a new parody into the vertical intertextuality; the ever-changing movement and time-image go over the intertextuality, as well as to the hypertext. The notions of "media art" or "media technology" shift from the governmental perspective to the reflection on technology. Therefore, the meaning of FARM includes the reflective questions on hypertext and interaction, beyond responsive environment.
Le Retour du COCHON
a variable screenplay inspired by Animal Farm (George Orwell) and Snowball's Chance (John Reed)
The screenplay is ever-changing and regenerating the voice of the conversation among the characters hence a net-based screenplay. People who would write and feedback to the original script could affect to change the story line in continuous conversation. This makes the actual composition of mosaic movies. The multiway of conversation including the original characters (main bots):
Freinds (means Friends, and with reversed 's' shape)
Original quote from Animal Farm by George Orwell, 1945.
Written by RACS, 2009.
We respect for the exclusive rights of copyrighted work and its originality. The screenplay followed the Fair Use. We abide the Intellectual property law, Copyright Act and Berne Convention for the Protection of Literary and Artistic Works.
FARM © 2009