"...Abode where lost bodies roam each searching for its lost one. Vast enough for search to be in vain. Narrow enough for light to be in vain. Inside a flattened cylinder fifty metres round and sixteen high for the sake of harmony..." Samuel Beckett, The Lost Ones, 1972 UNMAKEABLELOVE is a revisioning of Becketts initial investigation that focuses and makes interactively tangible, a state of confrontation and interpolation between our selves and another society that is operating in a severe state of physical and psychological entropy. UNMAKEABLELOVE advances the practices of algorithmic agency, artificial life, virtual communities, human computer interaction, augmented virtuality, mixed reality and multimedia performance to engage the bodys primordial inscriptions. It locates Becketts society of lost ones in a virtual space that represents a severe state of physical confinement, evoking perhaps a prison, an asylum, a detention camp, or even a reality TV show. While in UNMAKEABLELOVE the inhabitants of the cylinder remain oblivious in their condition, and we the viewers of their world, with our probing torch lights and prying gaze, are positioned as the ‘other’, forced to experience the anomalies of a perceptual disequilibrium that implicates us in this alienated narrative. The resulting ambiguity and complicit agency in UNMAKEABLELOVE reinforces a perceptual and psychological tension between ‘self’ and ‘other’ generated by the works’ mixed reality strategies of embodied simulation.

New Scientist takes a look at the performance staged at this year's Hong Kong Art Fair. via Open Culture