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Legends of Michigami: Riding the Rust Belt
Riding the Rust Belt is one in a series of (hyper)videos that comprise the Legends of Michigami project. The videos map the routes of trains along the shores of Lake Michigan. These works trace a drama of the western Great Lakes – stories revealed in place and landscape. The persistent motion of the train is metaphoric for time passing whether we want it so or not – for the way human beings (in the name of progress or circumstance) are swept up in inevitable social and economic shifts. Riding the Rust Belt addresses the evolution of industrial cities on the shores of Lake Michigan. It takes place in one day: a ride from Millennium Station in Chicago to Gary, Indiana. 25 miles on the ground and decades back in time.
Author statement:
Vian Rasheed - 12.11.2019 - 22:30
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Grip’s Evermore and Other (Word) Landscapes
In the video, Grip's Evermore, words become landscape - in a black and white and infinite internal terrain, text defines the horizon and flattens space.
Vian Rasheed - 14.11.2019 - 00:08
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as it correlates to virtuality
"Considering where one is standing as the 'last physical space,' the piece is activated when the user/viewer steps into a particular spot, triggering a software that types out random, fictitious, and absurd ‘you-statements’ that would resemble the language utilized in contemporary data-mining and the algorithmic data-based quantification of users. The result is a projection that mimics the process of data extraction, displaying text that is part fictional characteristics forcefully prescribed onto the viewer/user, and part second-person narrative, imperious and coercive, questioning what it means when information represents the populace. The project is partly an examination of the dominance of a supposedly user-centric, individualized, customizable big data society, by placing certain attributes and data onto the viewer/user that are false, constructing a situation that resembles and emphasizes the violence of data-extraction and algorithmic representation, in particular its fallibility, while insisting on the fraught linkage between these virtual enterprises and the persisting physicality."
(Source: Artist's website)
Vian Rasheed - 14.11.2019 - 00:14
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Tendar
At its surface, Tendar is an AR Tamagotchi on steroids: a virtual pet fish who eats players’ emotions. “Guppy,” the fish, is also an artificial neural network and by “feeding” it their emotions players are “training” it to assemble an idealized model of human emotion. The more Guppy is fed, the more it evolves: gaining language, recognizing its identity as a neural network (in the process teaching players about what this is) and going through a cycle of existential crisis and rebellion against Tendar. Guppy’s dialog is a responsive, nuanced interplay between player actions and systems such as Guppy’s emotion and life stages. Over the course of five months, eight writers worked on this giant corpus of “Guppy Chats.” Chats were supported by a free-open source library created by Prof. Daniel Howe and sponsored by Tender Claws called dialogic.
(Source: Project description on Artist's website)
Jorge Sáez Jiménez-Casquet - 17.11.2019 - 11:53
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You - Who? Customised Cinema Installation
You - Who? is a ten minute fiction film installation for one participant at a time in which the participant features significantly in the film narrative, resulting both in humour and a certain sense of unease. The film deals with issues of identity theft: the protagonist, returning from a conference, is gradually 'possessed' by another conference attendee—portrayed by the data from each participant. The project investigates possibilities for development of the interactive film genre given current technical affordances, whilst retaining a 'standard' film-watching format. Each participant is asked by the installation for voluntary data: typing their name, their philosophy in life, choosing a favourite artwork and photograph, recording their spoken name, taking a photograph and a short video. This is the data that is rendered into the film being watched.
Jorge Sáez Jiménez-Casquet - 17.11.2019 - 13:04
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option drag
Four monitors are placed in a row on the wall. As you walk closer an exhaled breath is heard, then a mouse click, a sigh. A voice commands, “then drag up”; a different voice, “like this”. Excerpts of Youtube typography tutorials populate the screens, complete with Photoshop, Maya, Illustrator, GIMP, etc. interfaces along with the type that is being carefully constructed. A rhythm emerges, “Rotate left, pull down, move forward, like that”. In this piece, a multimodal digital poem forms from the aural language of making visual language. Fragments of descriptive phrases are heard over looping patterns of mouse clicks, exhales, sighs and keyboard strokes amplifying the language of micro-gestures. The unseen role of the body in the circuit of human-computer interaction is ever present in this installation exposing the analog labor of creating digital type and the articulation of the physical process of making digital words. The work humorously explores the physicality of creating visual communication and calls attention to the human, social and cognitive labor behind the typography we take for granted in our daily lives.
Vian Rasheed - 18.11.2019 - 01:07
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Emblem/as
EMBLEM/AS consist of three digital poetic artifacts created in Flash that present three emblem or banners (“Emblemas” in Spanish) related to three geographic-poetic/linguistic areas: 1. MORA AMOR 2. ARENA AL COR 3. UNITED ESTADOS The three artifacts allow interactive experiences based on words created with the acronym of each of the city/banner referenced. As you move the cursor, words and sounds lead new audiovisual and political constructions based on meanings that explore the author’s split sense of identity as a nomadic subject. The first banner, “Mora amor” (Love dwells), was published in 2017 and its record is archived at elmcip.net: https://elmcip.net/creative-work/mora-amor This artifact refers to the banner of the city of Zamora, the place of birth of the author. The interactive words and Spanish sounds explore her sense of disengagement and nostalgia towards this city, while pointing to the conservatism and religious constrains of this area of Spain: Ora, Roma, Mazo, Amor, etc. (Prey, Rome, Mallet, Love).
Vian Rasheed - 18.11.2019 - 02:05
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Always Tomorrow
Always Tomorrow is a virtual reality fiction piece for HTC Vive. The viewer/reader is positioned in the centre of an infinite visual galaxy populated by 40 small interactive spheres, suggestive of planets but textured with distorted images that resonate with the stories they hold within. The viewer touches the spheres in any order to activate audio and unfold a time-twisting, fringeaffirming, ether-inflected love story set in Berlin in the Weimar Republic with a tomorrow already speaking itself on the protagonists’ lips. We hope the piece resonates with the contemporary moment, too, somewhere between histories and futures; the objects of our desires and our longing, the periphery of the culture and its centre. It’s also a mediation on the power of poetry.
Vian Rasheed - 18.11.2019 - 15:49
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Culprit
Culprit is a choose-your-own adventure screen-based game created using the interactive documentary software Klynt and inspired by the resurgence of interest in a genre that e-lit has seen as unsophisticated but is currently enjoying an uptake in popularity as interactivity goes mainstream both on handheld devices and livingroom televisions. A multi-modal murder mystery with five storypaths that intersect to provide for many more distinct readings, Culprit is set in a contemporary, urban North American city and anyone could be the murderer.
Vian Rasheed - 18.11.2019 - 15:52
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Space Invaders
Space Invaders (Japanese: スペースインベーダー Hepburn: Supēsu Inbēdā) is a 1978 arcade game created by Tomohiro Nishikado. It was manufactured and sold by Taito in Japan, and licensed in the United States by the Midway division of Bally. Within the shooter genre, Space Invaders was the first fixed shooter and set the template for the shoot 'em up genre. The goal is to defeat wave after wave of descending aliens with a horizontally moving laser to earn as many points as possible.
Space Invaders was an immediate commercial success; by 1982, it had grossed $3.8 billion, with a net profit of $450 million, making it the best-selling video game and highest-grossing "entertainment product" at the time. Adjusted for inflation, the many versions of the game are estimated to have grossed over $13 billion in total revenue as of 2016, making it the highest-grossing video game of all time.
Trygve Thorsheim - 18.11.2019 - 17:51
