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Thanks, Garrett, Fédérique, Dorit, Luke, and Toby, for participating in last 
week’s discussion, which I hope will continue and intersect with this week’s 

This week’s guests include  Steve WetzeL (US), Mariana and Daniel O’Reilly 
(UK), Max Schleser (AU), Philip Cartelli (US/FR), Adam Fish (UK), and Rachel 
Johnson (US)  .

All have participated in the “Invisible Geographies” exhibition for the 
twentieth edition of FLEFF. 

Steve Wetzel’s _Aquarius the Waterman_ makes visible the geographies that 
humans negotiate through economic shifts in commodity markets for iron-ore 
within the environmental devastation of the Erzberg open-pit mine in Austria.

With _NEO-LONDON_, The Unstitute (Marianna and Daniel O’Reilly) speculates on a 
possible future in which the city of London in the United Kingdom has 
collapsed. The project allows users to navigate an archive that maps according 
to psychological coordinates rather than physical ones, in order to locate 
causes for an increasingly probable future.

Max Schleser’s _Viewfinders_ (with Gerda Cammaer and Phillip Rubery) is a 
platform that offers users the opportunity to compare their own views of the 
world with those of others by uploading a short tracking shot to a database 
where it will be edited together with tracking shots by others.

In Philip Cartelli details in _Promenade_, the Mediterranean port of Marseille 
is being transformed from a racially/ethnically, religiously, and nationally 
diverse center of trade into a whitewashed tourist attraction. Nonetheless, 
traces of the past emerge.

Adam Fish's _Points of Presence_ (with Bradley Garrett and Oliver Case) 
documents the invisible geographies of submarine and subterranean internet 
cables and the human labor that makes wireless function.

In _Escaped Exotics Vol. 1_ Rachel Johnson investigates the Jequirity (Rosary 
Pea) as more than a mere invasive species from South Asia to south Florida in 
the United States. The plant’s poisonous seeds have been appropriated into the 
cultures of tropical areas around the globe.

I look forward to hearing more about these projects from their makers, as well 
as their conceptions of an arts practice that moves between conventional 
categories, including documentary.



Steve WetzeL (US) is an artist, video maker, and assistant professor in the 
film department at the University of Wisconsin-Milwaukee. Over the past decade, 
Wetzel has produced many works of experimental non-fiction and anthromentary (a 
form that combines anthropology and documentary) video, which have been 
exhibited nationally and internationally. His arts practice emerges within the 
intersection of experimental film/video, observational documentary, and social 
constructions of reality. These themes can also be found in two small volumes 
of writings, _Occasional Performances and Wayward Writings_ (2010), and 
_[PAUSE]_ (2014), described as “an urgent and generous exegesis” and “a 
contemporary mix of aesthetic, personal, and moral imminence.”

The Unstitute (UK) is Marianna and Daniel O’Reilly. Built in 2010 to challenge 
establishment values and explore the domain of art in the twenty-first century, 
The Unstitute not only presents projects produced in-house, but hosts virtual 
residencies, virtual curated exhibitions and monthly online screenings. The 
architecture of the website itself is a prime feature of the project, 
incorporating labyrinths amid derelict online spaces.

Max Schleser is a filmmaker, who explores smartphones and mobile media for 
creative transformation and media production. His portfolio 
(http://www.schleser.nz/) includes various mobile, smartphone and pocket camera 
films, which have been screened at festivals, galleries, and museums 
internationally. He publishes on mobile and smartphone filmmaking, creative 
innovation, and collaborative filmmaking. He is also cofounder of the Mobile 
Innovation Network Australasia (MINA) and curates the annual International 
Mobile Innovation Screening.

Philip Cartelli (US/FR) has made films and video works exhibited at the Locarno 
Festival (CH), the Edinburgh International Film Festival (UK), FID-Marseille 
(FR,) and the Film Society of Lincoln Center’s non-fiction showcase Art of the 
Real (US), among others. He holds a Ph.D. in Media Anthropology with a 
secondary emphasis in Critical Media Practice from Harvard University, where he 
was a member of the Sensory Ethnography Lab. He also holds a Ph.D. in Sociology 
from the Ecole des hautes études en sciences sociales. He currently teaches 
filmmaking at Wagner College in New York City, where he is also co-director of 
the Film and Media Studies program.

Adam Fish (UK) is cultural anthropologist, video producer, and senior lecturer 
in the Sociology Department at Lancaster University. He employs ethnographic 
and creative methods to investigate how media technology and political power 
interconnect. Using theories from political economy and new materialism, he 
examines digital industries and digital activists. His book Technoliberalism 
(Palgrave Macmillan, 2017) describes his ethnographic research on the politics 
of internet video in Hollywood and Silicon Valley. His co-authored book After 
the Internet (Polity, 2017) reimagines the internet from the perspective of 
grassroots activists and citizens on the margins of political and economic 
power. He is currently working on a book about hacktivist prosecution called 
Hacker States and a book and experimental video called System Earth Cable about 
“elemental media” — atmospheric and undersea information infrastructures in the 
United Kingdom, Denmark, Iceland, and Indonesia. 

Rachel Johnson (US) is a North American artist working regionally along the 
East Coast. Her media-specific videos and performances unveil the temporal 
nature of the human within the frameworks of biological desire that guide the 
evolution of our virtual/material landscapes and poetics. She traces her own 
origins to the humid subtropics of North Carolina and has no reaction to poison 
ivy, pollen, or mosquito bites.



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