They adapted their work to the apparatus in place, consisting of a large circular panoramic screen by creating They Watch. Ordinarily devoted to virtual recreation in the real spaces of the structures that welcome them, they there decided to populate the image, in its 360-degree depth, with avatars. Equipped with
4. Relational Form
Rensselaer Polytechnic Institute, where they made a stopover.
a form of artificial intelligence, these are in their image. Here we recall the robotic clone of Professor Hiroshi Ishiguro although the technologies used by Workspace Unlimited are more those of the world of video games populated by myriad bots. [34] It is best to be alone to experience the They Watch installation, although tiny perforations in the screen allow an outside audithe viewer’s gaze in his or her movements which, in this situation, plays the scene. To approach one of the avatars makes it
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ence to witness the scene. The avatars of the two artists follow
advance, silently or almost, since it appears that all together they are whispering. There are, therefore, different modes of exchange, which are initiated during the experiment. There is an exchange of views between those who populate the image and the person who lives the experience, while we can easily imagine the comments being made among the public outside the scene. Without omitting the murmurs between the bots which, the virtual in the interminable waiting of some improbable encounter. The idea that one can exchange with this other who is neither flesh nor bone predates the emergence of electronics, and digital. In New York in 1844, the German Joseph Faber presented the
Dominique Moulon
like all the bots of all the computers of the world, wander within