No Other Symptoms

Description

Rosalind Brodsky, with whom the author shares Anglo/Eastern European/Jewish roots, was born in London in 1970 and survived until 2058. Her first delusional experience of time travel supposedly occurred during a session with the pyschoanalyst Julia Kristeva in Paris, at the moment she noticed Kristeva's similarity to the face in the photograph of her Polish-Jewish grandmother who had been murdered in the Holocaust. By 1995 Brodsky is a delusional time traveller who believes herself to be working in London at the Institute of Militronics and Advanced Time Interventionality (IMATI) in the 21st century. IMATI is a controversial government funded organisation which develops equipment and carries out time travel research projects whose results are for use primarily by the military and other government research organisations. Your journey takes the form of a tour organised by the Institute in memory of Brodsky's contribution to time travel research. The tour sheds light on much of her life, work and personal interests. Explored in the CD ROM is Brodsky’s research into areas of film, TV, music, architecture, genetics, the history of Eastern Europe, the Holocaust, the 1960s and the Russian Revolution. Starting at the Institute in 2058, the year of Brodsky's death, you are shown an introductory movie before entering Brodsky's study, concealed behind a memorial wall. From here you may travel to her home in Bavaria and journey to her Satellite spy probe, access her electronic time travelling diary and discover the time travelling costumes and attaché cases in her wardrobe, through which you take the lift down to the Clinics from where you time travel to the homes of (and view case histories by) Freud, Jung, Klein, Lacan and Kristeva with whom Brodsky has undergone analysis, paid for with the profits from sales of her feature vibrators, album sales of her band ('Rosalind Brodsky and the Satellites of Lvov') and her time travelling cookery TV show (videos of both are also viewable on the CD ROM). This work creates a space that negotiates issues of insanity and humour, fetishism and sexuality, identity and technology, in relation to personal histories/fictions and histories of the twentieth century.

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