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Angela, I am most interested in the middle school dance party idea. Part of what makes that experience so awkward (and rich) is that we know or feel like everyone is watching. In watching, the audience tries to assess through body language/positioning what is occurring between the two dancers--do they like each other? does she/he want to run away? do they want to kiss? and so on. I could see a series of patches on the garments that correspond to heightened levels of intimacy/interest--if she puts her arms around his neck(patch under her arms that connect with the shoulders) and he pulls her in tight (patches on his forearm.) The backs of the dancers seems like a fruitful place to manifest some sort of message (not nec. text). It's not visible by the dance partner, yet acknowledges the snoopy audiences desire to know what's up. Keep it coming.

Aurora, It's all in the details here, which I think you already understand. Either the structure you imagine has to relate/dictate the content or the content should dictate the structure/interaction. I think it is imperative for you to hone in on the video content that is being served--why and how are you choosing it and how does it relate to the interaction with the scales? Also, I am not sure I understand the relevance of 3 scales, why not just one? Perhaps the scales represent some issue/debate of the day that has clearly defined sides? What happens when the scale is balanced--the most interesting or most banal content? A strong beginning, but the content of all this needs to be defined as soon as possible. Also, a production timeline and any like-minded projects you might be finding should be posted to you page.

Mary, we have discussed a good deal of this via email so i'll be brief. the content of the images/visuals is extremely important in relation to how you posit or create a claustrophobic space/experience. be sure to check out the switchboard library for processing, which may prove useful for grabbing web content. as fate would have it, yesterday I met/had lunch with the author jeff crouse...warned me he is still working out some bugs, but he is nice and would likely be willing to communicate with you about getting it all working.

Max, I am not sure I completely understand what you are proposing. you seem to be interested in subverting our preoccupation with time, yet what I read seems to confirm or heighten our attention to actual time...seconds, minutes, hours etc. I wonder if you can't come at it a bit differently and think about subject based time. it's "history time" or "war time" or ?? (ok, it's "miller time" works too. and although i have tried to resist, i just can't: HAMMER TIME.) perhaps a web app that averages headlines or live journal content or something relevant to your concepts for a new "school" and then serve up what "time" it is based on those. It could be a fab wall clock, sans the display of real time. looking forward to hearing more. Please post revisions along with a production timeline and any research you have done into like-minded projects or technologies you hope to utilize. Take a look at Tom Igoe's email clock

Jesse, I am concerned about scale, time and technical complexity in relation to realizing this project, along with what I perceive as an unclear/not articulated core idea. I think you need to write a couple lines clearly stating what the idea is--isolation, loss, being a loser/kid with bad mojo who causes everything/everyone to disappear as he/she approaches or what? Once you do this, I suspect a lot of what you are defining as necessary in this installation (couch, lamps, decoration) will become irrelevant/not central to idea. I would be extremely cautious in using cliched images like a tumbleweed, as it is loaded with cultural references that likely are not related to whatever you might be intending. It's also a bit too easy/cheap/cheeky and I think you can get to something much more nuanced. To get to the core of your idea, I suggest you strip out all the extraneous information (sofa, decoration etc) and deal with what it means to enter a space and have people or things disappear or perhaps "hide" when you approach. Equally important are the details of who (male or female, old or young, etc) and specifics of what objects and what it means to have chosen them all. Define why this is all happening in relation to who and what. You need to get on this ASAP and make updates to your site immediately so that we may give you feedback. also, you are missing a production timeline and references/research into like-minded projects or a description of what technology you might use to realize this.

Ryan, please do not seek any volunteers to realize your project ; -) I think you need to come up with alternates to the dead body, as it does seem a bit of a stretch to acquire the footage you desire. However, I wonder if this does not present an opportunity? While it could be quite groovy to experience your decomposing corpse, it ultimately becomes more illustration/manifestation of what we all know (like it or not) is coming down the road. What we don't know, is how you think we are going to or currently are evolving. What if you reversed your thinking and instead of death and decay, we move into the future and see ourselves/the environment all modified, added to/changed?

Robert_Ransick 09:14, 16 November 2006 (EST)