//////////fur//// (D)

Ascii Art Ensemble (NL/ SLO)

Ato & Erational (F)

Blinkenlights Projekt (D)

Jaygo Bloom (UK)

James Clar (USA)

Dekalko Studio/Djeff Regottaz (F)

Dirk Eijsbouts (NL)

VALIE EXPORT (AT)

S. Hanig/ G. Savicic (AT)

D.Hindman/S.Kiser/T.Morowati (USA)

Kiia Kallio (FI)

Stephan 'ST' Kambor (D)

Ludic Society (CH/AT)

Andrew Milmoe (USA)

Josh Nimoy (USA)

Josh Nimoy (USA)

Noel Nissen (CAN)

Guillaume Reymond (CH)

Niklas Roy (D)

Leif Rumbke (D)

Antoine Schmitt (F)

Jan-Peter E.R. Sonntag (D)

Time's Up (AT)

Mathilde µP (NL)

Olaf Val (D)

Phillip Worthington (UK)


Dog and Cat (1994)

 
In the 1990s, Loren and Rachel Carpenter experimented with actual audience participation, using new techniques (as was customary at the time) that they have been drawing on since 1991 with their company, Cinematrix. Based on Pong they developed Dog and Cat, which premiered at the Ars Electronica in Linz. The game was projected on a large screen in front of about 5000 visitors. Each visitor received a small card with a red and a green face. One half of the audience used this to control one of the rackets, while the other half controlled the other racket. The more red faces were held up, the further down the appropriate racket went down, and with an increasing number of green faces, it moved in the opposite direction. The colour patterns of the two parts of the audience were monitored with cameras, and a computer calculated each racket's position in real-time. The objective was not letting the dog, the representation of the ball, reach the cats. The audience's ability to control the rackets even at the ever increasing speed of the dog, was astounding. Rapidly, there emerged analogies to the behaviour of animal swarms which can hardly be explained as a conscious act.
 

  


http://www.pong-mythos.net


24.5.2013