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A university for the real world

GEORGIE PINN

Georgie Pinn developed an immersive, interactive project that uses facial tracking technology, animation and sound to explore notions of empathy and shared identity. The installation was a virtual mirror, investigating myopic self-obsessed tendencies and used a new emotive language that connected a diverse group of people.

Participants had the option to share their face on Foto Echo's Facebook page.

triangular play button icon ECHO (The Installation)   [Vimeo 2:34]
triangular play button icon ECHO (Empathy and narrative)   [Vimeo 2:14]
triangular play button icon Facial recognition technology encourages empathy through art
The minds of men are mirrors to one another, not only because they reflect each other's emotions, but also because this rays of passions, sentiments and opinions may be often reverberated and may decay away by insensible degrees

David Hume

Georgie Pinn REEL 2016 from Georgie on Vimeo.

BIOGRAPHY

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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