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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.
Universal Timepiece (Version 1 - 4)
Mark Madel
Original: PR_1991_markmadel_001_o.jpg | 313 * 456px | 185.9 KB
Original: Universal Timepiece (Version 1 - 4) | 4425 * 3017px | 42.9 MB
Original: Universal Timepiece (Version 1 - 4) | 4425 * 3017px | 42.9 MB
Original: Universal Timepiece (Version 1 - 4) | 4425 * 3017px | 42.9 MB
Original: Universal Timepiece (Version 1 - 4) | 4425 * 3017px | 42.9 MB
Original: Universal Timepiece (Version 1 - 4) | 4425 * 3017px | 42.9 MB
“'Universal timepiece' consists of four separate objects. The objects consist of nothing more than printed circuit boards with the computer, electronics, and all necessary parts mounted directly on them. In their original installation each board was hung in an individual booth.
In Version 1, the lifespan of the object has been set to 25 years. The computer in the artwork is counting down from there, relentlessly, while displaying the total time left. The only respite available is when the participant contributes some of his or her time by holding a finger on the object. Version 2, like Version 1, has a fixed span of existence allotted to it. But in this case the span is measured in power (microwatts per hour) instead of time.
In Version 3, the artwork takes on the role of a house plant needing regular attention. The object must be touched at least once a week, or it will promplty self-destruct. The final Version (4) of the timepieces has a meter counting my current age. This piece requires only one true act of participation from one viewer, which is to use the key in the lock to stop the meter when I die. If the key is used incorrectly before my actual death, the meter keeps running, and the object responds to the abuser appropriately.” (Mark Madel)
Technical background:
Universal Timepiece (Version 1 – 4), Interaktive Computerinstallation, 1991
HW: Proprietary 83C555-Based Microcomputer with added ADPCM, Playback Electronics
SW: Proprietary Assembly Language Control Programme
In Version 1, the lifespan of the object has been set to 25 years. The computer in the artwork is counting down from there, relentlessly, while displaying the total time left. The only respite available is when the participant contributes some of his or her time by holding a finger on the object. Version 2, like Version 1, has a fixed span of existence allotted to it. But in this case the span is measured in power (microwatts per hour) instead of time.
In Version 3, the artwork takes on the role of a house plant needing regular attention. The object must be touched at least once a week, or it will promplty self-destruct. The final Version (4) of the timepieces has a meter counting my current age. This piece requires only one true act of participation from one viewer, which is to use the key in the lock to stop the meter when I die. If the key is used incorrectly before my actual death, the meter keeps running, and the object responds to the abuser appropriately.” (Mark Madel)
Technical background:
Universal Timepiece (Version 1 – 4), Interaktive Computerinstallation, 1991
HW: Proprietary 83C555-Based Microcomputer with added ADPCM, Playback Electronics
SW: Proprietary Assembly Language Control Programme
Mark Madel was born in Chicago in 1957 and received his B.F.A. from the California Institute of the Arts, Los Angeles, in 1981. He had numerous solo exhibitions, e.g. "User Friendly", Arch, Amsterdam, 1989; "Logic, Order, and Predictability", The L-Shaped Gallery, Los Angeles, 1981, as well as group exhibitions, e.g. "Little Things Mean a Lot", Momentary Modern, Amsterdam, 1991.