Grand Theft Bicycle: Can Interactivity make the Inactive Active?
Dr Stephen Gibson
Co-Investigators: Justin Love, MSc Student in Computer Science and Visual Art., University of Victoria, Canada; Jim Olson, Independent Graphic Designer, Calgary, Canada.
Grand Theft Bicycle is a game-art installation that uses the kinetic interface of a bike –modified with sensors – to allow users to ride through a 3D modification of a video game. The piece is an example of art-design-science collaboration and of a practice-based research project with possible offshoots in physical computing research and interface design.
Context
The transdisciplinary origins of this project mean that it will inevitably raise different questions depending on the audience;
- Young gamers will undoubtedly be most interested in the idea of a precisely modelled interface for controlling first-person shooter games.
- Those more aware of media art will be interested in the modelling aspect of the project in which the original Grand Theft Auto (GTA) game is taken apart and re-constructed as political critique.
- Those interested in aerobics and exercise will be intrigued by the use of the above interface to encourage users to engage in exercise without being aware of the extent of their exertions.
- Physical computing specialists will be interested in the use of a literal interface that is very cheap and transparent in its design.
What We Did
Grand Theft Bicycle (GTB) is part of a growing genre of “game art”. In short, game art uses the forms and techniques of commercial gaming, but inverts normally banal or uncritical gaming content to include critical reflections on issues such as the nature of violence in media culture. Grand Theft Bicycle clearly sits in the area of game art research and practice. Formally it borrows from game culture, but provides a new take on gaming in that the content is critical, satirical, and absurd in the Dadaist sense.
Who will benefit
A particular research concern addressed in GTB is the generally sedentary nature of gaming culture. Young people who play videos games would be primary public beneficiaries of the project. In addition the piece presents a solid example of a literal physical interface for interface designers. When the user rides the sensor-equipped bicycle turning the handlebars produces turning, pedalling produces acceleration, pressing the left brake causes you to stop and reverse, etc. In essence the project functions as a model for physical interfaces in which the user is made unaware of his or her physical activity via intense engagement with the literal interface and the compelling content.
Impact
Grant Theft Bicycle has had five exhibits in four different countries. These exhibits include a solo refereed exhibit at one of Canada’s foremost artist-run centres, Stride Gallery in Calgary. This venue only has 6 solo exhibits per year so their selection policy is extremely competitive. The piece was also selected to be shown at the original Dadaist venue in Zurich, Cabaret Voltaire for three weeks in Spring 2010. This exhibit caused a considerable stir at the time as the Swiss parliament was considering a ban on violent video games. The opening had over 500 attendees and the press response was quite strong. Most recently the piece was shown at Digital Art Weeks in Xi’an China. This also has received a large amount of press (yet to be fully collected). Please see the section below for details on the international exhibits of Grand Theft Bicycle as well as press reviews.
