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Multiple sessions
Sat 17 September 1:45pm
Will you tell the truth or will the machine catch you lying?

This multi-award winning theatrical social experiment uses real biometric sensors and live voting systems, to seek out truth in a world of fake news and alternative facts. This interactive performance deploys a sinister gameshow aesthetic along with slick technology to probe the nature of truth, and the difficulty that both humans and machines have in detecting lies. Once you strap in – will you tell the truth and if you do what will it really reveal about you to a group of strangers? 

It’s a beguiling game to play in an age of alternative facts and fake news, and another demonstration of Counterpilot’s ingenuity. No one else is making work quite like this.
The Age


Counterpilot is a collective of interdisciplinary artists directed by Nathan Sibthorpe, including Mike Willmett (sound designer), Christine Felmingham (technical designer), and Sarah Winter (production designer). Together, they create interactive performance works, activating audiences with new technology, rich design, and transmedia storytelling. Counterpilot seeks to transform the familiar, juxtaposing rich fictional worlds against a backdrop of the everyday. Their works boldly experiment with new applications of technology. With interactive tools like geo-locative audio, SMS distribution networks, RFID voting systems and biometric sensors, Counterpilot puts the audience at the centre of every performance experience – whether it be for physical journeys, experiential narrative, or heightened gameplay. Since 2015, they have produced seven major works, in partnership with organisations including Metro Arts, Brisbane Powerhouse, Next Wave Festival, Brisbane Festival, Sydney Festival, Darwin Festival, Horizon Festival, La Boite Theatre Company, and Adelaide Fringe. For their work Crunch Time (2018), they received the award for Best New Australian Work at the 2018 Matilda Awards. In its premiere presentation, Truthmachine (2019) received three awards at the 2019 Adelaide Fringe, including Best Interactive or Digital Work and the Hong Kong Tour Ready Award. According to the Age, “nobody else is making work quite like this” (Cameron Woodhead, 2019).