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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
SHO(U)T
Vincent Elka,
Emosmos
SHO(U)T is a participative and interactive video artwork, whose conceptualization is achieved by the spectator’s own engagement, and is catalyzed by reciprocal visual and sound extensions; the living matter of the artwork in situ.
Based on the recognition of emotions, SHO(U)T reacts to sound beyond the intellectual sense it may contain. Its potential response is a video chosen in relation to a given entry, which it analyzes and deciphers for its emotional content. The machine receives, subverts, manipulates and conveys information produced by the spectator and sends back one after the various other scenarios thought out beforehand by the artist, and also possibly anticipated by the audience. Three elements intervene as potential actors, three scales of sensitivity, three cognitive fields: the filmed character on screen, the spectator and the machine.
The original intentions of SHO(U)T is to express and perceive language strictly beyond its objective meaning by retaining only its emotional power, its total subjectivity, which lies beyond languages and their respective semantic barriers. The images underline how limitless geography is, how blurred boundaries can be, how indefinite and haphazard identities are; the sound track does the same by breaking down language according to the acoustic intensity and expressivity of the spectator. SHO(U)T plays with this linguistic accumulation by mixing together different captures and data bases, creating a type of emotional Esperanto.
Based on the recognition of emotions, SHO(U)T reacts to sound beyond the intellectual sense it may contain. Its potential response is a video chosen in relation to a given entry, which it analyzes and deciphers for its emotional content. The machine receives, subverts, manipulates and conveys information produced by the spectator and sends back one after the various other scenarios thought out beforehand by the artist, and also possibly anticipated by the audience. Three elements intervene as potential actors, three scales of sensitivity, three cognitive fields: the filmed character on screen, the spectator and the machine.
The original intentions of SHO(U)T is to express and perceive language strictly beyond its objective meaning by retaining only its emotional power, its total subjectivity, which lies beyond languages and their respective semantic barriers. The images underline how limitless geography is, how blurred boundaries can be, how indefinite and haphazard identities are; the sound track does the same by breaking down language according to the acoustic intensity and expressivity of the spectator. SHO(U)T plays with this linguistic accumulation by mixing together different captures and data bases, creating a type of emotional Esperanto.
SHO(U)T has received the support of: Aracadi – ACME Commission 2005; SCAM – Soutien Art Numérique 2006; DRAC – Soutien à la création 2006. SHO(U)T is based on the SMODE (tm) technology – Diplabs © 2001-2006
Vincent Elka (FR). In 1968, I became a terrian. In 1984 I became a graffiti writer named Lokiss. In 1989 I became bored with the hip-hop-culture stereotypes and created a deconstruction graffiti style. In 1992 I stopped doing graffiti and started on sculptural works and body/nature experimentations. In 1996 I discovered the astrophysics and cosmos poetry. In 1998 I bought my first computer and concentrated on that. In 2005, after several online creations, I wrote the first line of the SHO(U)T generative scenario. Finally, from the beginning, I have tried to be nothing else but an interactive artist.