interactive sound installation, dark space, 16 x 13m
|Visitors encounter the sounds of four or eight lanes of car traffic rushing across a completely dark space, while a dimly lit exit sign on the other side of the room beckons them to venture across. If visitors encounter a car in the darkness, it comes to a loud screeching halt with its engine idling. When a visitor steps away from a stopped car, it quickly accelerates past the visitor and across the room, then it slowly fades out into the darkness. A continuous pile-up of cars is created with smashing sounds when a visitor remains in front of a stopped car for more than a few seconds. Hundreds of visitors can be in the installation at one time, each capable of affecting the traffic. Over 600,000 people in North America, Europe, and Asia have been experienced Intersection since 1993.|
Don Ritter's art tells the story of what technology is doing to us every day. His work makes visible the invisible force-field of technology. In Heidegger's sense, Ritter 'presences' technology. We are always being smashed by the freeway traffic of high technology. The overwhelming feeling is one of fear of the techno-unknown: chance bodies, chance sounds, chance accidents. Darkness hits, and you step off the curb.
Arthur Kroker, The Will to Technology and the Culture of Nihilism: Heidegger, Nietzsche & Marx
Exhibitions of Intersection
CAN Foundation, Seoul, South Korea. 2011
Media Art Award Nomination, Karlsruhe, Germany, 2000
Intersection beside the Danube River at Ars Electronica Festival '96
Indyke, Dottie (2006) “Dana Schutz, Charles Long, Don Ritter.” ARTnews. March. USA.
Bouchard, Gilbert A. (2004) "Playing in virtual four-lane traffic a tad unnerving," Edmonton Journal, June 27. Canada.
Serra, Catalina (1997) “Metronom
inaugura su temporada con las <<intersecciones>>
Systems of Don Ritter
Marshall McLuhan spoke of information media as extensions of the human nervous system, while Norbert Weiner created the science of cybernetics, envisioning systems where humans and machines merged to create a new hybrid. In modern life both of these visions can be seen as commonplace; our understanding and cataloguing of the world around us is inseparably linked to our familiarity with and use of technology.
To enter an installation by artist Don Ritter is to become an active participant in an technological emulation of a tangible and somewhat familiar experience. Ritter's work Intersection creates a space which pivots the viewer between sensations of empathy and tension, re-enacting an environment that is a metaphor for both modern life and its accompanying anxieties.
Intersection is an interactive sound simulation of vehicles driving along four lines of traffic. Occupying a darkened space, the installation is triggered and completed by the "intrusion" and interaction of the human participant. Through use of infra-red sensors and feedback technologies, the movement and placement of the listener within the space alters the sound (and therefore the presumed motion and bearing) of the oncoming car. A person entering the installation simultaneously transforms and triggers it, by framing themself within the trajectory of oncoming vehicle(s).
Ritter's installation places the audience in the active position of accomplice, making them as much a part of the medium as the technological supports that make it work. Entering and interacting with the art is a cybernetic act; a melting of the closed system of technology and fixed programming, with the seemingly random response of the human participant. The work will resonate with anyone who had experienced the sense of chance, risk and loss of control that goes hand-in-hand with the event embodied in this place.Ritter's work accompanies contemporary artists ranging from American artist Bill Viola to Nova Scotia artist Richard Robertson. Like him, these artists work to place the viewer as an integral component, in concert with a technological component, to make a unified statement about modern life.