EXPERIMENT
In response to the prompt to create a refuge or shelter, the cohort designed an interactive, multi-sited “escape room” that made use of the entire campsite. They did so by dividing into smaller groups, where each group designed their own multimodal interactive installation as one “room” of the larger “escape room” space.
Each group installation was informed by a particular theme drawn from the cohort’s collective reading of Mary Shelley’s Frankenstein in relation to corresponding lab seminar discussions. While each group produced a stand-alone installation, all installations were linked and mapped across the camp site in such a way that outside participants would have to navigate one installation to proceed to the next, but not in a straightforward manner. The route taken through the escape room space was in part a function of the way participants engaged each installation’s particular prompts, which variously explored the embodied and performative dimensions of voicing and silencing, the local ecologies of plastic waste and their reanimation, the multisensorial haunting of a nearby abandoned sanatorium, to name but a few. Likewise, “dead ends” were staged less as design flaws than as a way to elicit deeper participant involvement and discussion with the themes of liminality that each of the installations interfaced in their own distinctive ways.
In response to the prompt to create a refuge or shelter, the cohort designed an interactive, multi-sited “escape room” that made use of the entire campsite. They did so by dividing into smaller groups, where each group designed their own multimodal interactive installation as one “room” of the larger “escape room” space.
Each group installation was informed by a particular theme drawn from the cohort’s collective reading of Mary Shelley’s Frankenstein in relation to corresponding lab seminar discussions. While each group produced a stand-alone installation, all installations were linked and mapped across the camp site in such a way that outside participants would have to navigate one installation to proceed to the next, but not in a straightforward manner. The route taken through the escape room space was in part a function of the way participants engaged each installation’s particular prompts, which variously explored the embodied and performative dimensions of voicing and silencing, the local ecologies of plastic waste and their reanimation, the multisensorial haunting of a nearby abandoned sanatorium, to name but a few. Likewise, “dead ends” were staged less as design flaws than as a way to elicit deeper participant involvement and discussion with the themes of liminality that each of the installations interfaced in their own distinctive ways.
DESIGN, PERFORMANCE, ANIMATION by PSL Cohort 2018
Simon DeBevoise
Cal Fish
Bryonny Goodwin-Hawkins
Ty Holtzman
Anna Joos Lindberg
Aria Machairidou
George Mantzios
Nikos Paschoulis
Herbert Ploegman
Eleni Tsatsaroni
Simon DeBevoise
Cal Fish
Bryonny Goodwin-Hawkins
Ty Holtzman
Anna Joos Lindberg
Aria Machairidou
George Mantzios
Nikos Paschoulis
Herbert Ploegman
Eleni Tsatsaroni
