Fabian Krzich: Difference between revisions

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GENERATIONENKONFLIKT is an installation that asks for the interaction of the visitor and gets a performance as soon as sombody starts the investigation and participation. It can be seen as classic "analog" appropriation of things aswell as a digital one by using the function one of the items. It is supposed to be setuped in a medium dark room on the ground and cosists of one torch light, one original hover hood (Schwebehaube in German) by Krups and one Gameboy Color including a Game Boy Camera. Both systems are turned on. What you hear is the hover hood buzzing and some odd 8 bit Nintendo melodies out of the Gameboy Color. Both are attached to the ground, you can not lift it, only the A button works and can get pushed, the torchlight is movable and can get turned on. On the top of the Gameboy the camera lense is looking to the visitor. By using the torch light to look around, the visitor can realise that the screen of the Gameboy shows a changing picture that is affected by the light. By putting the flare on the Gameboy you almost only see a white screen, but due to the delay of the screen you can witness for a second that it must have been showing something different before. Further experiments by the visitor will lead to the perception, that it is not possible to see yourself "live" in the screen like in an (actually very low resolution nostalgic) mirror, because the screen needs light to be able to show something and the lense is too sensitive for the brightness of the torch light. Continously this lense of the 90s is observing the visitor but never shows what it sees when you do not try to look on the screen.

GENERATIONENKONFLIKT is an installation that asks for the interaction of the visitor and gets a performance as soon as sombody starts the investigation and participation. It can be seen as classic or "analog" appropriation of things aswell as a digital one by using the function of one of the items. It is supposed to be setuped in a medium dark room on the ground and cosists of one torch light, one original hover hood (Schwebehaube in German) by Krups and one Gameboy Color including a Game Boy Camera. Both systems are turned on. What you hear is the hover hood buzzing and some odd 8 bit Nintendo melodies out of the Gameboy Color. Both are attached to the ground, you can not lift it, only the A button works and can get pushed, the torchlight is movable and can get turned on. On the top of the Gameboy the camera lense is looking to the visitor. By using the torch light to look around, the visitor can realise that the screen of the Gameboy shows a changing picture that is affected by the light. By putting the flare on the Gameboy you almost only see a white screen, but due to the delay of the screen you can witness for a second that it must have been showing something different before. Further experiments by the visitor will lead to the perception, that it is not possible to see yourself "live" in the screen like in an (actually very low resolution nostalgic) mirror, because the screen needs light to be able to show something and the lense is too sensitive for the brightness of the torch light. Continously this lense of the 90s is observing the visitor but never shows what it sees when you do not try to look on the screen.

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	GENERATIONENKONFLIKT is an installation that asks for the interaction of the visitor and gets a performance as soon as sombody starts the investigation and participation. It can be seen as classic "analog" appropriation of things aswell as a digital one by using the function one of the items. It is supposed to be setuped in a medium dark room on the ground and cosists of one torch light, one original hover hood (Schwebehaube in German) by Krups and one Gameboy Color including a Game Boy Camera. Both systems are turned on. What you hear is the hover hood buzzing and some odd 8 bit Nintendo melodies out of the Gameboy Color. Both are attached to the ground, you can not lift it, only the A button works and can get pushed, the torchlight is movable and can get turned on. On the top of the Gameboy the camera lense is looking to the visitor. By using the torch light to look around, the visitor can realise that the screen of the Gameboy shows a changing picture that is affected by the light. By putting the flare on the Gameboy you almost only see a white screen, but due to the delay of the screen you can witness for a second that it must have been showing something different before. Further experiments by the visitor will lead to the perception, that it is not possible to see yourself "live" in the screen like in an (actually very low resolution nostalgic) mirror, because the screen needs light to be able to show something and the lense is too sensitive for the brightness of the torch light. Continously this lense of the 90s is observing the visitor but never shows what it sees when you do not try to look on the screen.		GENERATIONENKONFLIKT is an installation that asks for the interaction of the visitor and gets a performance as soon as sombody starts the investigation and participation. It can be seen as classic or "analog" appropriation of things aswell as a digital one by using the function of one of the items. It is supposed to be setuped in a medium dark room on the ground and cosists of one torch light, one original hover hood (Schwebehaube in German) by Krups and one Gameboy Color including a Game Boy Camera. Both systems are turned on. What you hear is the hover hood buzzing and some odd 8 bit Nintendo melodies out of the Gameboy Color. Both are attached to the ground, you can not lift it, only the A button works and can get pushed, the torchlight is movable and can get turned on. On the top of the Gameboy the camera lense is looking to the visitor. By using the torch light to look around, the visitor can realise that the screen of the Gameboy shows a changing picture that is affected by the light. By putting the flare on the Gameboy you almost only see a white screen, but due to the delay of the screen you can witness for a second that it must have been showing something different before. Further experiments by the visitor will lead to the perception, that it is not possible to see yourself "live" in the screen like in an (actually very low resolution nostalgic) mirror, because the screen needs light to be able to show something and the lense is too sensitive for the brightness of the torch light. Continously this lense of the 90s is observing the visitor but never shows what it sees when you do not try to look on the screen.