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A university for the real world


Echo is a research project that uses interactive facial detection technology, combined with animation and sound to explore the shifting identity of the techno-self, blurring the boundaries between the private and the public, the object and the voyeur and the performer and audience. The work investigates the individual and the relational identity and researches facial responses to multiple, virtual and collective identities.

The intention of the project is to find a new expressive multimedia language to connect a diverse group of participants. The installation is user-centric, activating emotional responses to increase engagement and learning and providing a diverse platform for relational discourse through a series of animated portraits that mark the experience.

The final outcome of this development is an audiovisual tool/application that can be used in an event context as an animating avatar for public performance. This application can extend the virtual identity of the performer and the personalise the experience of the audience.

Georgie Pinn REEL 2016 from Georgie on Vimeo.


Georgie Pinn is a multimedia artist who has been flexing her skills across Europe and Australia for over 17 years. Some of her audio visual projects include holographic ghosts for a Hamlet production, interactive animation/dance events for Federation Square and directing and editing music videos for bands such as Regurgitator. In the last 7 years she has been developing a range of interactive motion triggered animation/sound projects.

For an events setting she uses facial expression and full body motion tracking to animate visual concepts and diversify responses to specific narratives. The works make animation accessible, returning a sense of physical play to the medium and then combine it with performance, narrative, film and music to create a unique experience. The audience becomes the performer and as they drive the content they become immersed in the work both physically and emotionally, developing a more personalised relationship with the content.

In her latest works, Electric Puppet, Electric Corpse and Electric Karaoke, she has extended her ideas to an educational, workshop context, facilitating and designing curriculums for long term school residencies, holiday programs and youth festivals. These projects have enabled her to experiment with new tools for user-centric learning and innovative forms of expression, as student designs come to life with their bodies in physical space. The projects have provided a unique platform for immersive kinetic education and have multiple outcomes such as films, songs, interactive installations and performance events. This allows the work to not only resonate beyond the workshop but to act as a reference of value and achievement for the participants.

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