179:, dealt with "the emergence of compulsive consumerism in the 19th century" through a plotline centered on a heist. For this piece, Dove used floor mats as the basis for viewer interaction with the piece: moving around shifted the visitor's point of view among three options (first, second, and third person). Gestures made by visitors further affected how the piece was experienced. In the second installment, Dove continued her inquiry "into the subconscious at work in the capitalist society of the early 20th century".
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128:, often offering a feminist take on popular genres. Dove refers to her work as "cyber-theatre" because it relies on virtual performers (avatars) rather than human actors and because she gives her audience partial control over the performance through the use of interactive technologies. In these hybrids of
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has been interpreted as belonging to the larger domain of radio because of its "aural evocation of high-tech street erotics". The piece tracks a metamorphosis from a choreography based on the gestures of
Charcot's "theater" of hysteria to a choreography of the female heroines of martial arts. It is
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accompanied by a narrative about disturbances in the fabric of human intimacy followed by a three minute symphony constructed entirely of screams. The piece was situated at the end of a series of adult video stores and presented an alternative view of the subject matter at hand on 42nd street.
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Dove has been working with interactive narrative since 1990. Her work blends cinematic tropes typical of
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Davenport, Glorianna. "Curious
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255:"Theater Without Actors: Immersion and Response in Installation." In
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American sculptor; interactive film, installation and performance art
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412:"Spectropia: A Ghost Story on the Infinite Deferral of Desire"
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New
Visions in Performance: The Impact of Digital Technologies
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Weiss, Allen S. "Radio Icons, Short
Circuits, Deep Schisms."
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Gigliotti, Carol A. "Women and the
Aesthetics of New Media."
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Spectropia: A Ghost Story on the
Infinite Deferral of Desire
367:"In Toni Dove's 'Spectropia', the Artist Hits Her Own Mark"
252:. London: British Film Institute, 2002, pp. 208–220.
102:. She is the granddaughter of American abstract painter
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Casual
Workers, Hallucinations and Appropriate Ghosts
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Casual
Workers, Hallucinations and Appropriate Ghosts
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The
Blessed Abyss: A Tale of Unmanageable Ecstasies
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90:of American Art. She has been affiliated with
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167:In 2001 Toni Dove received funding from the
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152:to control or 'perform' their on-screen
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250:New Screen Media: Cinema/Art/Narrative
116:with contemporary narrative trends in
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352:Carver, Gavin, and Colin Beardon.
263:Mesmer: Secrets of the Human Frame
229:Mesmer: Secrets of the Human Frame
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490:21st-century American sculptors
465:20th-century American sculptors
53:Performance, installation-video
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356:. Taylor & Francis, 2004.
215:(1993; in collaboration with
213:Archeology of a Mother Tongue
500:20th-century women sculptors
475:American mixed-media artists
414:. Daniel Langlois Foundation
397:"ADA Archive of Digital Art"
334:. Daniel Langlois Foundation
313:trAce Online Writing Centre.
301:ZKM's Future Cinema webpage
159:Dove's 1994 piece entitled
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485:American new media artists
354:New Visions in Performance
288:@Bustlelamp | tonidove.com
169:Daniel Langlois Foundation
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436:5, no. 2 (1998): 14-19.
410:Bonin, Vincent (2004).
371:The Wall Street Journal
330:Bonin, Vincent (2001).
265:. Granary Books, 1990.
201:Artificial Changelings
177:Artificial Changelings
78:and has shown work at
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138:experimental theater
62:lives and works in
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495:1946 births
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365:Bennet, B.
332:"Toni Dove"
203:(1995–2000)
197:(2001–2010)
171:to produce
122:cybernetics
104:Arthur Dove
100:Cycling '74
459:Categories
418:October 4,
338:October 4,
270:References
195:Spectropia
111:studio-age
450:Home Page
142:interface
126:new media
114:film noir
60:Toni Dove
42:Toni Dove
23:Toni Dove
257:Leonardo
64:New York
154:avatars
231:(1990)
225:(1992)
209:(1994)
136:, and
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70:Career
284:"Bio"
420:2006
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148:and
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45:1946
38:Born
384:TDR
80:ZKM
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