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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.
This Means More
Nicolas Gourault
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A crowd simulation software serves as a tool for exploring football supporters' collective memory.
This Means More juxtaposes testimonies of football supporters with the industrial tools used to represent virtual crowds. These tools are usually used to create images of crowds in advertisements, or to manage flows by anticipating the movement of bodies. As a counterpoint to these virtual images, supporters of Liverpool FC recount their experience marked by a tragic event--the 1989 Hillsborough stadium disaster, which changed the face of football.
Simulation technology becomes an archaeological tool in order to explore the traumatic memory of football fans. The confrontation of two forms of knowledge about the crowd, one distant and analytical, the other lived and embodied, raises the question of what constitutes a community and how this lively collective collides with the infrastructures that seek to control it.
Football has always had a mixed relationship with the crowd. Both a public space for profane culture and a control apparatus, the stadium embodies this conflicted relationship. At a time when working class supporters get banned due to financial and security pressures, I want to use a contemporary visual tool--crowd simulation--to explore the history of this exclusion. The stadium being a microcosm for society, its evolution relates to broader social changes that have happened over the last thirty years.
Links: https://vimeo.com/369854788
This Means More juxtaposes testimonies of football supporters with the industrial tools used to represent virtual crowds. These tools are usually used to create images of crowds in advertisements, or to manage flows by anticipating the movement of bodies. As a counterpoint to these virtual images, supporters of Liverpool FC recount their experience marked by a tragic event--the 1989 Hillsborough stadium disaster, which changed the face of football.
Simulation technology becomes an archaeological tool in order to explore the traumatic memory of football fans. The confrontation of two forms of knowledge about the crowd, one distant and analytical, the other lived and embodied, raises the question of what constitutes a community and how this lively collective collides with the infrastructures that seek to control it.
Football has always had a mixed relationship with the crowd. Both a public space for profane culture and a control apparatus, the stadium embodies this conflicted relationship. At a time when working class supporters get banned due to financial and security pressures, I want to use a contemporary visual tool--crowd simulation--to explore the history of this exclusion. The stadium being a microcosm for society, its evolution relates to broader social changes that have happened over the last thirty years.
Links: https://vimeo.com/369854788
Production: Le Fresnoy, Studio national des arts contemporains
Testimonies: Peter Carney, Richie Greaves, Damian Kavanagh, Peter Hooton, Ian Lewis
Additional voice-over: Nicholas Masterton
CGI: Nicolas Gourault
Image: Alan Guichaoua, Nicolas Gourault
Editing: Felix Rehm
Sound editing: Arno Ledoux
Mixing: Simon Apostolou
Color grading: Baptiste Evrard
Testimonies: Peter Carney, Richie Greaves, Damian Kavanagh, Peter Hooton, Ian Lewis
Additional voice-over: Nicholas Masterton
CGI: Nicolas Gourault
Image: Alan Guichaoua, Nicolas Gourault
Editing: Felix Rehm
Sound editing: Arno Ledoux
Mixing: Simon Apostolou
Color grading: Baptiste Evrard
Nicolas Gourault (FR) is an artist and filmmaker, trained in contemporary art schools such as Le Fresnoy, Studio national des arts contemporains, but also in visual studies at École des hautes etudes en sciences sociales (EHESS). His work is imbued with these two fields of studies and aims at creating bridges between visual issues and political concern by means of a documentary critique of new media. He is particularly interested in how simulation technologies transform modes of representation and control spaces in order to prevent unwanted events.