La Melanconia della Tecnologia: seconda parte


La Melanconia della Tecnologia: intervista a Bryn Oh
di Cristina Cilli
Parte Seconda (QUI la prima parte)

1. Let’s continue to speak about your language through the language and let’s composite a kind of an endless mirror: from the first three keywords I Could continue with science/scientific experiment; cave; long tunnel: is this a way to reach “inside and hidden” memories? If yes, remembering what? If not?
The characters from 26 tines are satellite ones from the main story of the Rabbicorn.  Theirs is the melancholy story of two robots who are in a sterile place and just wish for warmth and love.  Perhaps I should explain the story as it is in poetry and may be difficult to understand.
The tiny robot in a jar is an experiment the Scientists have created.  During the daylight they do tests on him and he is treated not as a living being but as a tool.  When night comes the cleaning robot arrives.  She lowers her cable into the jar.  It has 26 prongs or tines on it, and he has an outlet with 26 holes.  In the darkness they connect her cable to his outlet and together they feel an intimate embrace.  They stay like this until the morning and it keeps their loneliness at bay.  It is like the warmth of a hug where you also get to hug minds.
It is about becoming just a number in a modern world.  I am connected to hundreds through things like Facebook, email, blogs, flickr and Second Life but they all lack a certain depth or emotion.  I guess my work revolves around the desire to have that magical connection that seems so elusive.

2. Which is in your work the relationship between written words and moving images?
In machinima they are two important part to creating Immersiva.  They are not always successful as we do live in the age of ADD, but the slow camera movements help create mood in the viewer by slowing their heart and relaxing the body, the colour then influences ones mood and finally the poetry comes in when they have had time to get into the proper mindset.  Everything you hear in the machinima was recorded live, the music the ambient sound, they were not added later.
The idea is similar in the 3D virtual build.  When the viewer explores my environments they discover the narratives and are influenced by ambient sound and colour as well.  But unlike a machinima they explore in an unscripted manner.

3. In which way in the real world do you drive to seek for the solitude in virtual world
That is an interesting question.  In my real world I am an oil painter as I said.  My studio is in my home so my days are already spent in solitude.  I have one big art show a year and much of my time is spent alone in the studio creating work for this show.  One night a year is my opening where people come to drink wine and chat but barely look at my artwork as its too hard to when the gallery is full.  Openings are actually the worst time to go see artwork, they are more for people to socialize.  When I have been inside too long I wander around outside sometimes, and talk to friends on the phone but surprisingly for me Second Life has more of a social element to it.  As far as feedback on art goes.  It would be like dozens of strangers or friends popping into my studio each day to see what I was up to, but without the obligation of needing to stop what I am doing to chat.  I am a bit messed up I think.  I like solitude yet I sometimes crave finding a closeness to others.  I am like the mouse who comes out of their hole to look around and sniff the air, then turn around and go back inside.

4. Do you have any relationship with P. k. Dick? In which way, if so, the so called “human science fiction” affected your art?
I really like the work of Phillip Dick and others such as China Mieville and Richard Adams.  Books like Oryx and Crake by Margaret Atwood or short stories from the likes of Ray Bradbury or Brian Aldiss.
5. Again about your poetic visual signs: gear, wheels…
Gears and wheels are part of my Steampunk aesthetic.  I find them hypnotising they way they slowly turn.  Somehow relaxing.

Fine seconda parte intervista. Continua…