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"Benvenuti a tutti. Ciao, I'm Airalin. This is the rabbit hole into my world. I hope you all do stay a bit here in Wonderland for I'm quite interested in visitors. I often get lonely all by my Cheshire Cat self. It's just sort of nice to know that someone is looking ; here I get to have no defenses, no guards, just me. In between all the spaces I touch I'm here now. There's an infinite amount of babble I can put forth but for now we begin our broadcasting day. Stay here with me and keep me company because even if I don't see you there, I can feel it. "
A diaristic and "open" composition comprised of sound bits culled from various recordings. The notion of "frozen sounds" cited in Noise Water Meat, A History of Sound in the Arts by Douglas Kahn (MIT Press, 2001) served as inspiration, specifically the references to a peculiar storyline in which sounds were somehow material and silenced when frozen by extreme cold. Upon thawing the sounds could be heard again but were no longer held to their original temporal sequences. In twice-told tales, various times and places mix via altered field recordings and re-recorded broadcast media.The sparse interface allows for a random combination of up to seven loops to sound together. Adjustments to the composition are made by dragging and releasing the circular graphic elements. Vertical positioning sets the volume and horizontal positioning sets the pan of each loop in the composition set.
Clicking the "++" resets the screen.
In being human/étant humain Annie Abrahams tackles problems of communication in general and develops a work around the possibilities and limits of exchange using a computer. This tool makes it possible to address people in their own intimacy, not mediated by a context of art. In most of her pieces, the artist addresses the visitor directly.
In the work the spect-actor, by his actions and his participations, reveals himself to himself and contributes at the same time to an outline of the contemporary human state of mind.
"You are alone in front of your computer. Just you. All is you. Can you understand me? I am a computer. I am not you. Please, respect me. Do you want a computer kiss? Some compliments? I don't know what I want. I want tenderness, I am afraid of what I want. Don't touch me. There will always be a confrontation. We will never agree. We need to relax. Let's move happy between interfaces."
Left To My Own Devices uses the codes of digital games to explore a narrative of loss and awkward renewal. The game’s main character navigates a space of
playful interaction and fragmented animation. Game segments take inspiration from the shifting emotional states associated with loss. The character’s backstory is gradually revealed through game play.
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