Starting Exhibiting

Today I helped Angus build a couple of desks for my exhibition, and then decided to only use one with two computers side by side. This is the desk in the space with one of the two computers set up with the game. On Friday I will set up the second computer and place some chairs when there is more space.

I also used the Print Obituary function today. I am considering placing some discarded obituaries around the exhibition of my piece. I will update this later on.


Fox is making an interactive film too!

Since finishing off my interactive film, game 42, I heard about Fox’s plan to create their own interactive film, also inspired by the Choose Your Own Adventure series. They plan to use a mobile phone app to ask a whole audience for their choices, as not each person in the cinema can have a different experience of the same film, as is the case with my one-on-one interactive film.

I am excited to see it come to fruition! Similarly, Loving Vincent came out in 2017, just after I made my own animated oil paintings. These can be seen on my youtube channel: . It is great to see the work I am making is relevant to the current world of film.

Documentation: Y3 Summer Assessment

Please see Studio to see my concept and pieces progressing over the year, and see Studio Influences to see the relevant artist research I have done this year. Thank you for taking the time to explore!

A link to the website:

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Artist Statement: Y3 Summer Assessment

Please see Studio to see my concept and pieces progressing over the year, and see Studio Influences to see the relevant artist research I have done this year. Thank you for taking the time to explore!

This interactive film centres around the idea of being in someone else’s shoes, or in this case their blue jumper, as you make life decisions. Your decisions and an element of chance both influence the outcome of the game. This is a comment on how anyone could have ended up in a different position in life quite easily, and so shouldn’t judge those around them. Including two screens allowed for direct comparison between ‘players’. My 2016 film, Projecting Hate, uses a first person perspective to put the viewer in the experience of an immigrant, and my feminist films Yes, We Have No Bananas from 2017 and VIVID from the Autumn term, both follow the experience of women, in both cases aiming to increase the viewer’s sympathy with the life experience of the protagonists. However game forty two takes the role of the viewer to another level, asking them to participate in the story of the film. This, and the practicalities of coding that I learned last term, are what make game forty two an interactive film.

I looked at this ‘interactive film’ as a game, hence the name which references Douglas Adams’ idea of the meaning of life; forty-two. I wanted the dismal and ‘grown-up’ nature of the story, life decisions, to juxtapose the frivolous nature of games. Internet-based artist Jon Rafman tackled similar themes in his 2011 film Code of Honor, which intercuts game animations with realistic found footage. To achieve the juxtaposition of moods, I formatted the webpage as if it were a game, and edited the film to be very bland and dismal. I achieved this through my use of colour in editing, which I have utilised in various ways in previous films. In this case the blue tones throughout the films create the bland mood, and the game-related sounds, fonts and pop-ups exaggerate the juxtaposition with joyful games.

Throughout this project I looked at the work of Olia Lialina, the artist behind the web-based artwork My Boyfriend Came Back from the War. This work is also interactive, as different choices as to which boxes or dialogue to click create different experiences, in a similar manner to that of my own work. MBCBFTW was originally only seen online, until its exhibition on its 20th anniversary which reflected the time period in which the piece was originally made through the use of antique monitors. While I considered using a similar approach in the hopes of adding an aspect of nostalgia to my exhibition, I realised that any monitor which doesn’t fit in with today’s norm would influence the connotations and reception of my piece. I eventually decided to make the exhibition of the two computers as neutral as possible, merely an environment which invited the viewers to become active participants.

In future, I intend to build on the idea of participation and different viewers’ perspectives in my practice. Using interactivity, and therefore learning HTML coding, was crucial to the concept: while we have some element of control over life choices, everybody has different experiences of the world. All are equally valid and we all die in the end. The interactive format also gave me the opportunity to create a game platform with which to juxtapose this grim message.


Website Progress

This is Brandon Greenan, master software developer.


I have been lucky enough to have his help in developing the game for this website. First we worked out how we would make the decision tree for the website and then linked all of the films to one another. We then made ‘choices’ and the bubbles that would be the links to the other films. It now works and visitors to the website can follow the story from beginning to end!

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I now need to create more bubbles for links to other websites and to the obituary. This will require making more ‘choice’ classes. I may move the obituary around and work on all of the text and sounds, and then I guess my website will be finished, aside from the styling needed. I will play with the fonts, background colours, credits and gameplay etc. before uploading the website to be hosted by Amazon Web Services. Not long until the deadline! I guess my next posts will be for my assessment…

Jon Rafman

Jon Rafman makes digital artworks which he archives on his website:

Jon Rafman’s Code of Honor (2011): intercutting animations with real life footage. I wonder if they are found footage, and he has written the story around the images as I assume he did for his Google Earth works.

This movie is about gaming and perhaps about how pointless it is. Some of it focuses on the hands of a player, or their dead eyes, rather than the game itself, showing objectively the small size, and uselessness of the action. He is so passionate about the score, almost anthropomorphising it as a friend. My own artwork will include a ‘highscores’ page, just to remind people that one’s accomplishments aren’t as important as you might think, as in fact everyone dies in the end. “Either I will kill you or you will kill me; it makes no difference“.  The whole tone of the video seems rather pointless, depressed. “I felt I was condemned to be a minor character”: he speaks about being dead and gone and how his life would have been pointless. This is an undertone of my own interactive film ‘game forty two’. As this film’s final statement says: “nobody knows what’s going to happen to anybody besides the bedrock of growing old.”

A Man Digging (2013) has a similar theme to Code of Honour (2011), as it rewrites the themes of found video game footage. In this case, the theme is just as dismal and slowly paced, focusing on the aesthetic of death, and the protagonist’s obsession with it. Looking upon the dead bodies found in the games, the character considers what kind of story predicated their death; what happened to them, what was their life like? Or perhaps he wasn’t thinking this at all, just looking at them in their current state, all other levels of their life erased. Video games often feature death in some format, and as my film states, it is the only certainty in life.

A Man Digging (2013):

YEAR FOUR THOUGHTS: I should go back to his overview website and have an explore.

A recurring theme is that of the online experience, with multiple works utilising Google Earth and Street View. Another theme therefore is that of surveillance. In You, The World and I (2010), he states ‘In this day and age I was sure it’s impossible to disappear completely”. This film also seems to discuss the shallowness of the online interaction, in that every person photographed is a stranger to the photographer, and in that the one photo he used to revisit disappears. This idea of surveillance may be more useful for next year’s exhibition, but this year he is relevant for his use of web-based artworks and films. As well as Google Earth, he sources other found footage, which I feel could always be a reference to surveillance as well.

4th year idea: Surveilling the participants before they arrive to use them in the exhibition. When they arrive, see they are already participants, without any action. Passive participants.

Works to do withs surveillance and Google Earth:

Vital Statistics of a Citizen, Simply Obtained (1977)

I should come back to this, it sounds pretty relevant. It seems to focus on the measurement of a woman. Against what it is not clear, but she is seen as an object, perhaps being valued, maybe against other women or people. It also speaks about a technological society.

This is juxtaposed with a voiceover speaking about crimes against women, and government images of women being measured. This aspect reminds me of my previous work ‘Projecting Hate’, as well as ‘Yes, We Need No Bananas’, which intercuts found footage of the women’s marches.