Camping Pong is an improvisation. Four friends go on a camping trip and
spontaneously develop the idea of Camping Pong. The source game is
retranslated into a pre-digital state. The image is not produced on an
electronic screen anymore, but projected to an archaic surface using light and
shadow. The ball remains an electrically generated light dot, but is now
controlled by a human hand.
the same time, Nissen's work clearly refers to the time after Pong.
With Camping Pong, Nissen reaches beyond the original game events
by aesthesising them. The game context of Pong is kept only as a
projection. The events on the screen are composed to a game only in the
imagination of those who are familiar with Pong. The players themselves
recording technology, too, is a clear reference to the present day. Only the
video feature of a digital photographic camera makes the emergence of Camping
Pong possible. With Pong the work picks up a traditionalised motive
of our “digital era” to reinterpret it with the possibilities of today's
wide-spread digital mobile technology. This does not happen conceptually or
planned but on a whim, just as the original game invites to spontaneous
Noel Nissen works and lives in the
Canada as a designer.
Other involved persons:
Hendricks, Lance Verwoerd, David Wylie