A cadre of Oblong personnel is even now on (strictly speaking, in a special gallery under) the ground in Park City, Utah, where we’ve deployed TAMPER at the 2009 Sundance Film Festival. The TAMPER installation is a giddy example of the sort of image and media manipulation tools we’ve built g-speak to enable.
Our Sundance guests — who already number in the thousands — find the experience exhilarating. A few grim cinephiles have supplementally raised an eyebrow (one per cinephile) at the filmic heresy that TAMPER provides: a fluid new ability to isolate, manipulate, and juxtapose (rudely, say the grim) disparate elements (ripped from some of the greatest works of cinema, continue the grim). For us, what’s important is the style of work: real-time manipulation of media elements at a finer granularity than has previously been customary or, for the most part, possible; and a distinctly visceral, dynamic, and geometric mode of interaction that’s hugely intuitive because the incorporeal suddenly now reacts just like bits of the corporeal world always have. Also, it’s glasses-foggingly fun.
Subsequent posts will likely detail the installation’s software architecture, but for the present consult TAMPER’s youtube channel for video documentation of our Sundance engagement.