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Canyonlands: Edward Abbey in the Great American Desert
"Canyonlands" is a web-based, interactive project that blends text and video imagery on a vast, scrolling environment. Following in the footsteps of the novelist and essayist, Edward Abbey, users navigate paths through a desert landscape that is being overturned through dam-building, road-building, mining, and industrial tourism. The project combines maps, photos, archival films, original video, and many other elements on a scrolling, virtual landscape suggestive of the Colorado River, its canyon lands, and the deserts of Utah, Arizona and California. Users arrive in a desert American West in the 1950s. The work incorporates nonfiction materials in an artistic environment to offer an interdisciplinary blend of art, writing, and scholarship. Recorded in the deserts of Utah, Arizona and California.
(Source: Author's description in the Electronic Literature Directory)
Eric Dean Rasmussen - 18.02.2011 - 21:58
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Hundekopf
In Berlin, the S41 and S42 routes of the S-Bahn train are known as the "Ringbahn" because they encircle the central city. From an aerial view the Ringbahn has the shape of a dog's head, and so it is colloquially known as "Hundekopf", German for "dog's head". The Ringbahn is an integral component of the city's transportation network, and its restoration into a complete circle after the fall of the Berlin Wall has given it symbolic significance among Berliners. From the Ringbahn windows riders can gain an incomplete perspective of the city as a whole, and Berlin's TV tower (the city's most iconic landmark) is always within sight.
Scott Rettberg - 18.04.2011 - 12:23
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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
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Ghost City
Ghost City is a website that focuses on the representation of the city by the mass media. It uses the space of the web as a sculptural space, allowing viewers to interact with animated graphics to delve deeper and deeper into an imaginary city.
Ghost City is a labyrinthine environment through which viewers can navigate, either following the linear narrative that unfolds by moving from page to page, or they can delve into the non-linear chaos of random links. Each space is made up of appropriated images and texts. The images are culled from various print media sources. The texts are either found passages from urban theory or specifically written poetic musings on the city.
Scott Rettberg - 20.10.2012 - 15:06
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Developing: the Idea of Home
If, as Henri Lefebvre asserted, "spatial thinking" involves several different ways of conceptualizing space-as idea, as lived, as imagined-then perhaps an open system of examples can generate new ideas about "home" in the future. This is an experiment in reading; the CD-ROM is organized in an associative manner, since the subject radiates in so many different directions. There is obviously a "direction" here, that is no hidden-but the user may peruse and reconnect the fabric of the piece in many different ways. And, if our habitat may be located within a given social order, defined by economics, culture, and history, these forces must be viewed as interacting, rather than fixed.
Scott Rettberg - 13.01.2013 - 21:48
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The 2015 Fukushima Pinup Calendar
Satircal pinup calendar in HTML spreadheet format reflecting on environmental devastation related to Fukushima nuclear disaster.
The 2015 Fukushima Pinup Calendar is part of a larger piece, The Good Fortune Land, that uses Excel spreadsheets to create a narrative of the Fukushima Nuclear Meltdown and its aftermath. It continues the work of Tin Towns and Other Excel Fictions (2012).
Artist's statement:
The 2015 Fukushima Pinup Calendar adds another set of data points to The Good Fortune Land. As we look back on the years between 2011 and 2015, this Calendar is provided as a vivid reminder of the history of the five-year attempt to pretty up the picture. It was also a useful calendar online or printed, for home or office. It consists, of course, of the twelve months of the year – each month commemorating one of the extant issues surrounding the “control” of the plant and its surrounding water and land. In the spaces for each day, data from 2011, 2012, and 2013, and 2014 is recalled – along with the important holidays!
Scott Rettberg - 19.06.2014 - 03:15
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RIMA
RIMA (twitter stream http://twitter.com/squidsilo) is a performance installation and digital media work that conceptually addresses strategies for survival by way of poetically re-framing the facts behind the effects of solitary confinement and isolation into a fictional present/future. Notions around stimulus and memory are played out through the performers movement within the physical space (proximity, sound, touch) and the data collection of distinct environmental changes (cold, hot, light, dark), which trigger strategically placed sensors collated by a computer program. This in turn dispatches a relational virtual text stream delivered to a live webpage and/or twitter feed (twitter fiction). The overall effect is a mimic of real-time thoughts, responses and actions, which over time slowly build into a fictional narrative somewhere between an indistinct present and a sci-fi future. (source: ELO 2015 catalog)
Hannah Ackermans - 08.09.2015 - 10:59
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The Gathering Cloud
This hybrid print- and web-based work work aims to address the environmental impact of so-called ‘cloud’ computing through the oblique strategy of calling attention to the materiality of the clouds in the sky. Both are commonly perceived to be infinite resources, at once vast and immaterial; both, decidedly, are not. Fragments from Luke Howard’s classic “Essay on the Modifications of Clouds” (1803) as well as more recent online articles and books on media and the environment are pared down into hyptertextual hendecasyllabic verses. These are situated within surreal animated gif collages composed of images materially appropriated from publicly accessible cloud storage services. The cognitive dissonance between the cultural fantasy of cloud storage and the hard facts of its environmental impact is bridged, in part, through the constant evocation of animals: A cumulus cloud weighs one hundred elephants. A USB fish swims through a cloud of cables. Four million cute cat pics are shared each day.
J. R. Carpenter - 09.11.2016 - 11:03
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The Gathering Cloud (book)
The Gathering Cloud collates research into the history and language of meteorology with current thinking about data storage and climate change. Archival material from the Met Office Archive and Library in Exeter has been studied and sifted, along with classical, medieval, and Victorian sources, including, in particular, Luke Howard’s classic essay On the Modifications of Clouds, first published in 1803.
This research material is presented as a sequence of texts and images, acting both as a primer to the ideas behind the project and as a document of its movement between formats, from the data centre to the illuminated screen, from the live performance to the printed page. In his foreword media theorist Jussi Parikka describes the work as “a series of material transformations made visible through a media history executed as digital collage and print publication, hendecasyllabic verse, and critical essay”.
This work won the New Media Writing Prize 2016.
source: http://www.uniformbooks.co.uk/thegatheringcloud.php
Alvaro Seica - 24.01.2017 - 14:28
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All Unsaved Progress Will Be Lost
All Unsaved Progress Will Be Lost is a melancholic journey through a ghost town made of concrete and fog, based on the testimony of a woman who refused to evacuate her hometown village after a terrible disaster. The explanation on what the story is based on is only revealed at the very end, thus creating tension throughout the experience. The unnamed threat remains inexplicably imminent, allowing the viewer to project their own personal fears.
Martijn Holtkamp - 02.04.2024 - 11:04
