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1. Det siste utbruddet / The Last Volcano

   This video project explores Norwegian folk histories that return as fragments in light of ongoing volcanic eruptions. The project was recorded in Bergen following the disruptions caused by the activities of the Eyjafjallajökull volcano in Iceland. A folk history of disaster is set against slowly revolving images set in a contemporary landscape. This is the first of a series of works recorded in Norway that juxtapose folk histories and contemporary events to explore narrative and associative characteristics of cultural anxieties and collective memory. The project was researched and filmed by Roderick Coover in 2010 thanks to a distinguished-scholar-in-residence award from the University of Bergen.

   Scott Rettberg - 20.05.2011 - 22:55

2. Extinction Elegies: a post-Fukushima interactive video-poem tht introduces mutations into the DNA of meaning.

   ARTIST STATEMENT: Nuclear reactors are built to last for about 30 years. After that, the spent fuel needs to be stored for thousands of years. Zero-fault is unknown in all human endeavours. Culture fissions. Extinction Elegies is about the fragile instability of received meaning at both biological and social levels.

   (Source: Artist's description on the project site)

   Scott Rettberg - 21.01.2012 - 19:04

3. (S)PACING

   (S)PACING is a poetic performance piece that reflects upon the nervous habit of pacing and ideas of internal dialogue while walking as a source of poetic inspiration and contemplation, if not procrastination. The application for performance can either be played on the keyboard, or use live video motion tracking to access and combine screen-based still image, video, text, and audio content. The title of the piece refers not only to the act of pacing but also to pacing as a measure of time. The addition of the (s) at the beginning of the title, rendering the title spacing, could be said to refer not only to the locative and defamiliarizing spatial variations in the piece but also to formal aspects of poetry such as meter, feet, line breaks and stanzas. Though the performance, the actions of the performer may be fundamentally pedestrian they are put in contrast with mental and poetic machination in terms of the poetic output generated by the movement. In effect, the performer develops a system of, and has live action control over the scansion of the generated poem while handing over control of the vocalizations, imagery, and textual display to the application.

   Talan Memmott - 22.10.2012 - 00:40