The Temptation of St. Antony 1995-2000

Interactive video, sound and computer installation.

The Temptation of St. Antony is an interactive video and sound installation that records memory of viewers’ presence to shape and construct the responses of the piece. The viewer is placed in the role of contaminant to the character "St. Antony". In an attempt to purge the viewer’s contamination of the space Antony responds by obsessively repeating statements and compulsively moving his body. As more viewers’ interact with the space over time Antony’s movements become quicker and more repetitious and his statements layer. The piece uses sensors that map out the room. The video is projected from overhead onto salt on the floor. The image is elongated to distort the figure.

The piece is based on obsessive-compulsive disorder and Gustav Flaubert’s The Temptation of St. Antony. The piece uses a computer program to create obsessive/compulsive behaviors in sound and video. Sonar sensors mounted in an array along a wall in the space create a matrix within which the viewer can be located in the space at any time. The location that viewers stand in over time creates a cumulative effect on the software of the piece. On first viewing the figure seems to move about the space smoothly. After viewers have interacted with the piece over time the algorithm responds by designating the areas of highest interaction as "contaminated" spots. These are now the triggers for future interaction.

A program controls the piece by tracking the number of viewers in any given location; the amount of time the viewer remains in a location; determines if the location becomes contaminated and structures a response. Once the number of viewers reaches a threshold determined within the software algorithm the piece begins evolving obsessions. The obsessions are digitized sound samples controlled through MIDI. Each sound text is related to an obsession about either lust or death. When subsequent viewers interact with the piece—once it has crossed the obsession threshold for a given location within the space—the software will "obsess."

If the locations that have become contaminated by viewers continue to accumulate hits, the piece becomes "compulsive." The software selects and layers together obsessions and ritualistic sounds (i.e. counting, checking and other types of repetitions.) Multiple digitized sound texts are played simultaneously. In addition the genetic program selects clips from the videodisk and edits the video disc in real-time. Editing includes replaying sections repeatedly, increasing playback speed, moving forward and backward through clips, jumping between clips, etc. This editing creates the impression that the figure in the video is performing rituals or compulsions to purge the obsessions. The figure moves erratically about the space, struggling to move forward, repeats movements, etc.

The piece is designed to evolve these behaviors through time; the compulsive movement and obsessive sound increase in severity. Each time a viewer visits the piece he/she will have a different experience of it. The history of interaction is recorded and used by the software to control and shape the outcome of the piece. The viewer may trigger the piece, however, the next person to interact with the piece experiences the effect the previous viewer had on the piece. All interaction and response is dependent upon the history of interaction within the time of the exhibition.

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