| watch for a while, but all | really want is for the
projection to turn back to me. (Well, | wasn’t
done experimenting yet.”) | wonder what makes
it switch back and forth? Was it something | did?
Is one of the stools rigged?... maybe it was when |

for a motion detector... nothing. | clap, (“I don’t
know, maybe it’s triggered by sound”)... nothing.
“Fuck.” Now | feel like the lab rat again only I’m in
the maze and | can’t find the little hallway that takes
me to the stupid trigger that will open the gate so
| can eat the cheese.... | watch the street corner
half-heartedly. | decide to go, and just as | stand up
a gaggle of giggling girls walks into the space. | give
up the stools, and walk towards the door, but
instead of leaving | hide in a dark corner of the
room. | smile knowingly to myself, aware of what
they’re about to experience... And | watch.

" «(juite possibly the greatest radio station on earth...

More quickly than viewers would like, the projec-
tion reconnects to the surveillance camera outside.
Technically, viewers should be able to just swap a
narcissistic pleasure for a scopophilic one. But
instead viewers are left in a state of unfulfilled
desire. The reason for this is that when the projec-
tion mirrors the spectator, viewers are engaged in
both a narcissistic and a scopophilic pleasure.
While the self is recognizable, it is nevertheless a
different self that is reflected - one that is distorted
and processed through Rokeby’s artificial percep-
tion filter. The self on the screen resembles the
viewer enough that identification can take place,
but it is also different enough that a separation
between the subject and object can occur at the
same time making both scopophila and narcissism
possible. When the surveillance camera switches
back, viewers dont change to a different kind of
pleasure they are reduced from two kinds to one.

starring

Miarore Trsneformed

A mirror distorts. It presents sameness and differ-
ence simultaneously. Like a mirror, surveillance
cameras mediate what we see. Similar to the
awakening in painting that occurred when per-
spective was revealed to have about a 30 degree
cone of vision, viewers of Rokeby's piece are left
with an understanding of the narrow scope of
what is being shown, not because of the cone of
vision, but rather because of the selection
process. The work shows how visual selection
and artificial perception systems distort reality.
He calls into question our dependance on tech-
nology and the superior status we have declared
it to have because of its supposed ability to
record the “truth.”

ARTS CLUB THEATRE COMPANY §

Bill Millerd — Artistic Managing Director

y Yasmina Reza

Tom McBeath
Morris Panych
Daryl Shuttleworth

directed by
David Storch

set & costume design by

Ken MacDonald

translated by Christopher H mp con

March 15 - May 6

Co-sponsored by

Qo 4

lighting design by
CC&L

Alan Brodie

sound design by
John McCulloch

erevea|

Granville @12th
Ticketmaster 280-3311 « Box Office 687-1644

Corporate & Group Sales 687-5315:°* www.artsciub.com

GAM Tuevvcouvensun gy air canava @ "gay cec Television BIO

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room. | smile knowingly to myself, aware of what [ACCOR CEIe Tie — record the “truth.”

theyre about to experience... And | watch. pleasure they are reduced from two kinds to one.

Arts CLUB THEATRE COMPANY

Do Real Friends Tell The Truth?
A Sharp Comedy about Men, Taste, and “Art”

w Yasmina Reza
suring

Tom McBeath vosisee Christopher Hampton
Morris Panych

Daryl Shuttleworth March 15 - May 6

directed by
David Storch

set & costume design by

G |
Ken MacDonald sponsored by

aA
©. itt

lighting design by
Alan Brodie CC&L

sound design by
John McCulloch S
THEATRE

Granville @12th
Ticketmaster 280-3311 + Box Office 687-1644

Corporate & Group Sales 687-5315 + www.artsclub.com

LAMY Tirwwcnvensiy Ay ae caname @ Mier coc television ESD