USC協力展示
USC Projects
USC協力展示
USC Projects
カジノのビジュアルとギャンブルのゲーム性を結合したインタラクティブ・インスタレー ション作品。世界の政治家 16 名の像を写した 4 枚のビデオタイルを用いて、国家を象徴 する人物がそれぞれ利害を以てしても社会政治と世界経済に貢献可能なのか検証する。
God Is... is an interactive installation that combines an amalgam of casino aesthetics and gambling gameplay. Consisting of four video tiles that feature sixteen photographic busts of geopolitical characters from around the world. Each video tile encodes its content with one of four global themes—Education, Geopolitics, Economies, and Conflict. The “coat” card pairs are comprised of ideologically aligned geopolitical characters digitally stitched together eagerly awaiting you to remake the ideologues within the global order via the press of a button. The project offers a reexamination of sociopolitical and global economic alignments based on the interest of nation states and the personal imaginary of a historical legacy for individual state sponsored actors. This exercise in futility is never resolved because the coat cards are exemplars of a fixed power dynamic between those that make the global order and those that it is made for.
ニューメディアアーティスト、教育者、学者。モーブリーの行うインターベンショニストおよびゲリラ・パフォーマーとしての活動は世界中で発表されている。プログラミング、パフォーマンス型インスタレーション、推論的デザイン、デジタル・メディア・ハッキング、工業製造といった一見まったく異種のクリティカル・メイキング・メソドロジーを摘み集めた研究と制作をつづけている。ロードアイランド・スクール・オブ・デザインにてデジタル＋メディアのMFAを取得。現在はUSCメディアアート＋プラクティス博士課程在籍中。ジョージア大学助教授。
Triton Mobley is a new media artist, educator, and scholar whose interventionist works, and guerrilla performances have been exhibited at Art Basel Miami, Art Miami, and staged in Boston, New York, Providence, and across Japan. Triton’s practice culls together samples of seemingly disparate methodologies of critical making in programming, performative installations, speculative design, digital media hacking, and industrial fabrication. Triton holds an MFA in Digital+Media from the Rhode Island School of Design and is a PhD candidate in Media Arts + Practice and Annenberg Fellow at the University of Southern California. Triton Mobley is an Assistant Professor of Studio Art Core in the Lamar Dodd School of Art at the University of Georgia. His research and practice reposition ontological inquiries—situated between the discontinuities of emergent technologies and communities of marginality, assembling critical distillations to engender public reexamination. His most recent artworks, Coded #000000 and Volumetric Black, uncover the literal en/coding of anti-blackness into digital imaging technologies. A body of work that reimagines narrative structures of working–class resistance within the digital delay—via fabricated digital outputs. This research has been presented at the African American History, Culture & Digital Humanities’ Intentionally Digital, Intentionally Black conference in Maryland, as well as the Art Machines: International Symposium on Computational Media Art at City University of Hong Kong, and most recently at CURRENTS Virtual Festival 2020.
