Interactive video installation that consists of moving images from 90's Turkish TV.

The aim of this project is to make people communicate with 90’s Turkish television in an unconventional interactive television experience through the medium of video, and to challenge the audience to get loud in the public exhibition space.

Intention for the final output is to make an interactive video installation that works with voice of the user. FREK takes the audio as input, analyses its sound parameters such as the frequency and the amplitude, then generates images on the screen as output. The objective is to encourage the user to make sounds in public space. These sounds may be humming, whistling, singing, shouting or even screaming. As the interactors get louder, they take their experience to another visual level. The louder they get, the more diverse visual languages they experience as a reward for their courage.

How can I, as a designer, encourage the shy audience to make loud sounds in public? In what ways can I represent the Turkish television in the 90’s in various experimental visual languages? What kind of feelings do the images evoke when they get distorted, overlapped and change colours? Do the audience prefer just to see lo-fi videos playing after each other, or to see them overlapped, or do they prefer to experience them in a completely distorted, hypnotic, psychedelic style? What are the reactions of the users when they notice that they can generate more complicated images if they raise their voice even more? Do they just go on humming in a low voice or get crazier to see more? When the images from 90’s Turkey in motion get mixed up on screen, does it give an overall idea of the visuality of that era or does it end up as something else? Throughout the experiments and research I did, writing the dissertation and participating in the exhibition afterwards, I was seeking answers to these questions.

Even as a child, most of the television watching experience is spent unmarked. However, there are moments which relate either to personal or cultural experiences and which therefore stand out as imprinted in our memories. Compared with the activity of watching a movie in a cinema, in which the audience pay for the ticket to experience the high-fi images and sounds in darkness, television viewer tend to watch with lights on, and television as a medium, competes with the distractions of the daily routine. It is often disregarded and consigned to the background. In other words, television is totally embedded to the daily routine.

However when I play a video footage of a Turkish TV show from back in 1993 on Youtube for a non-Turkish friend, he can find it very interesting, funny, or horrible but he does not feel the same way as he doesn’t have any personal memories to relate with it, and vice versa. In FREK, the user has to make sounds in public with her/his voice to watch the TV (images on screen fade out to black if there is silence) and then get louder to enrich the visuality. So what I say in this point is that, you can’t feel the same as me seeing these images, but I can provide you with a different personal experience if you take my challenge and get loud in public. This experience is personal because the way of the appearance the moving images take on the screen is directly related to the particular voice parameters of the user. It ends up being the user’s own TV experience, not mine.

FREK reconstructs an interactive visual universe with recycling of images, encourages the viewers to make more daring sounds and provides a truly participative and effectively transformative experience for them. Although the project encircles a variety of fields of study, such as video art, interactive art, aleatoricism (chance art), generative design, television studies, audio-visual design, and representation of an era, I approach this work from the perspective of an interactive moving image designer.