Re: [-empyre-] Week 3 of the April 2018 discussion: New Media Documentary Practice

[Dale Hudson]

--empyre- soft-skinned space--Thanks, Marianna and Dan.

"Walking Dead without zombies" is a great description for our times! 

Thanks so much for creating this project. I remember finding it both haunting 
and strangely reassuring when I explored it during the Brexit debates and vote.

Best,
Dale

> On Apr 26, 2018, at 14:06, Marianna & Daniel O'Reilly 
>  wrote:
> 
> --empyre- soft-skinned space--
> Dear Dale,
> 
> Inasmuch as the notion of 'social collapse as fantasy' is well established in 
> the Hollywood paradigm at least, we tend to look at Neo London kind of like 
> the walking dead, but without zombies. The contemporary world-weariness 
> manifest in these visions of the 'end of society', seen another way, 
> constitute a healthy social function by way of foreseeing precisely how to 
> avoid such an end. Brexit is a good indicator of social hysteria, but rather 
> than focus on political reality, we always tried to return to the individual 
> experience, and how beauty continues to manifest there. Within these 
> macrocosmic personal realities, economic forces erupt in the form of stories, 
> memories, fragments of a wish to bring civilisation to its knees, realised in 
> surreal, partially-conscious insights.
> 
> Marianna and Dan
> 
> On Mon, 23 Apr 2018 6:30 am Dale Hudson,  > wrote:
> --empyre- soft-skinned space--
> Thanks, Daniel, for these insights into NEO LONDON. 
> 
> For me, the project invites user to engage in a kind of archaeological 
> excavation or foresnic investigation into a speculative version of what might 
> be our own moment in history.  
> 
> The satire, comedy, and junk fiction of the documents also compel us to think 
> about mundane news and social commentary during our own moment of social 
> collapse.
> 
> I’m curious to know what responses the project has received, especially since 
> the Brexit vote. Maybe I projecting into it, but I couldn’t help but see 
> parallels.
> 
> Best,
> Dale 
> 
> 
>> On Apr 22, 2018, at 11:28, Marianna & Daniel O'Reilly 
>> mailto:theunstit...@gmail.com>> wrote:
>> 
>> --empyre- soft-skinned space--Dear Dale and 
>> empyre subscribers, thanks for hosting us this week.
>> 
>> Location and experience form the fictional backbone of the psychogeographic 
>> fantasies presented in Neo London, and the documentary format is used to 
>> explore the language and tropes of mundane news and social commentary, 
>> revealing a perverse excitement at the prospect of social collapse. The 
>> documentation produced could thus be seen as a mapping of the grey areas 
>> lurking at the cusp of experience, at the edge defining interior and 
>> exterior worlds.
>> 
>> The explorations undertaken in the project, to my mind, entertain the tropes 
>> of the flâneur and the environmental notations of Benjamin, whilst drawing 
>> on the English tradition of satire to draw a surreal, comedic, psychotic 
>> urbanism into throwaway experience, junk fiction. In this effort, a poetry 
>> of space emerges, although one which may only be revealed through 
>> exploration of the maps.
>> 
>> Daniel
>> 
>> On Fri, 20 Apr 2018 8:59 pm Dale Hudson, > > wrote:
>> --empyre- soft-skinned space--
>> Thanks, Philip, for these insights in your two projects.
>> 
>> The negotiations between a focus on particularities of a location or 
>> relationships between various locations reproductive. Comparable ones are 
>> present in many of the questions asked in environmental studies.
>> 
>> I’m also curious to know what others think? 
>> 
>> The different sources of footage for _Slow Return_ seems as thought it would 
>> invite us to think through these tensions. The story of the water from a 
>> melting glacier becoming contaminated with pollution before flowing into the 
>> sea seems as though it would remain “invisible” to many people despite the 
>> satellite and webcams. The trope of “slow return” almost seems to evoke a 
>> slow awareness of the return of human-activity that can caused the glacier 
>> to be melting and the water to polluted.
>> 
>> Best,
>> Dale
>> 
>>> On Apr 16, 2018, at 20:05, Philip Cartelli >> > wrote:
>>> 
>>> --empyre- soft-skinned space--
>>> Thanks to Dale for the invitation. My contribution is a bit wide-ranging, 
>>> since I’d like to take the opportunity to explore a new project as well, my 
>>> first major work since ‘Promenade,’ included in Invisible Geographies.
>>> 
>>> In this new project, ‘Slow Return,’ I use my own original footage as well 
>>> as satellite and webcam imagery to depict and connect the source of the 
>>> Rhone River in the Swiss Alps and its estuary in southern France. The Rhone 
>>> Glacier’s situation is particularly urgent as it’s in an advanced stage of 
>>> melting and will likely have c

Re: [-empyre-] Week 3 of the April 2018 discussion: New Media Documentary Practice

[Marianna & Daniel O'Reilly]

--empyre- soft-skinned space--Dear Dale,

Inasmuch as the notion of 'social collapse as fantasy' is well established
in the Hollywood paradigm at least, we tend to look at Neo London kind of
like the walking dead, but without zombies. The contemporary
world-weariness manifest in these visions of the 'end of society', seen
another way, constitute a healthy social function by way of foreseeing
precisely how to avoid such an end. Brexit is a good indicator of social
hysteria, but rather than focus on political reality, we always tried to
return to the individual experience, and how beauty continues to manifest
there. Within these macrocosmic personal realities, economic forces erupt
in the form of stories, memories, fragments of a wish to bring civilisation
to its knees, realised in surreal, partially-conscious insights.

Marianna and Dan

On Mon, 23 Apr 2018 6:30 am Dale Hudson,  wrote:

> --empyre- soft-skinned space--
> Thanks, Daniel, for these insights into NEO LONDON.
>
> For me, the project invites user to engage in a kind of archaeological
> excavation or foresnic investigation into a speculative version of what
> might be our own moment in history.
>
> The satire, comedy, and junk fiction of the documents also compel us to
> think about mundane news and social commentary during our own moment of
> social collapse.
>
> I’m curious to know what responses the project has received, especially
> since the Brexit vote. Maybe I projecting into it, but I couldn’t help but
> see parallels.
>
> Best,
> Dale
>
>
> On Apr 22, 2018, at 11:28, Marianna & Daniel O'Reilly <
> theunstit...@gmail.com> wrote:
>
> --empyre- soft-skinned space--Dear Dale and
> empyre subscribers, thanks for hosting us this week.
>
> Location and experience form the fictional backbone of the
> psychogeographic fantasies presented in Neo London, and the documentary
> format is used to explore the language and tropes of mundane news and
> social commentary, revealing a perverse excitement at the prospect of
> social collapse. The documentation produced could thus be seen as a mapping
> of the grey areas lurking at the cusp of experience, at the edge defining
> interior and exterior worlds.
>
> The explorations undertaken in the project, to my mind, entertain the
> tropes of the flâneur and the environmental notations of Benjamin, whilst
> drawing on the English tradition of satire to draw a surreal, comedic,
> psychotic urbanism into throwaway experience, junk fiction. In this effort,
> a poetry of space emerges, although one which may only be revealed through
> exploration of the maps.
>
> Daniel
>
> On Fri, 20 Apr 2018 8:59 pm Dale Hudson,  wrote:
>
>> --empyre- soft-skinned space--
>> Thanks, Philip, for these insights in your two projects.
>>
>> The negotiations between a focus on particularities of a location or
>> relationships between various locations reproductive. Comparable ones are
>> present in many of the questions asked in environmental studies.
>>
>> I’m also curious to know what others think?
>>
>> The different sources of footage for _Slow Return_ seems as thought it
>> would invite us to think through these tensions. The story of the water
>> from a melting glacier becoming contaminated with pollution before flowing
>> into the sea seems as though it would remain “invisible” to many people
>> despite the satellite and webcams. The trope of “slow return” almost seems
>> to evoke a slow awareness of the return of human-activity that can caused
>> the glacier to be melting and the water to polluted.
>>
>> Best,
>> Dale
>>
>> On Apr 16, 2018, at 20:05, Philip Cartelli  wrote:
>>
>> --empyre- soft-skinned space--
>> Thanks to Dale for the invitation. My contribution is a bit wide-ranging,
>> since I’d like to take the opportunity to explore a new project as well, my
>> first major work since ‘Promenade,’ included in Invisible Geographies.
>>
>> In this new project, ‘Slow Return,’ I use my own original footage as well
>> as satellite and webcam imagery to depict and connect the source of the
>> Rhone River in the Swiss Alps and its estuary in southern France. The Rhone
>> Glacier’s situation is particularly urgent as it’s in an advanced stage of
>> melting and will likely have completely disappeared by the end of the
>> current century. At its other extremity, the Rhone flows past southern
>> Europe’s largest petrochemical port, a major source of pollution, on its
>> way out to the Mediterranean Sea.
>>
>> One of the challenges that I face in this project is creating connections
>> or cause/effect links beyond the natural resource that links these two
>> regions, which is where the alternative footage comes in, allowing me to
>> make such links evident through the human-made surveillance technologies
>> that are in many ways products of the same industrial production and
>> environmental con

Re: [-empyre-] Week 3 of the April 2018 discussion: New Media Documentary Practice

[Dale Hudson]

--empyre- soft-skinned space--Thanks, Daniel, for these insights into NEO LONDON. 

For me, the project invites user to engage in a kind of archaeological 
excavation or foresnic investigation into a speculative version of what might 
be our own moment in history.  

The satire, comedy, and junk fiction of the documents also compel us to think 
about mundane news and social commentary during our own moment of social 
collapse.

I’m curious to know what responses the project has received, especially since 
the Brexit vote. Maybe I projecting into it, but I couldn’t help but see 
parallels.

Best,
Dale 


> On Apr 22, 2018, at 11:28, Marianna & Daniel O'Reilly 
>  wrote:
> 
> --empyre- soft-skinned space--Dear Dale and 
> empyre subscribers, thanks for hosting us this week.
> 
> Location and experience form the fictional backbone of the psychogeographic 
> fantasies presented in Neo London, and the documentary format is used to 
> explore the language and tropes of mundane news and social commentary, 
> revealing a perverse excitement at the prospect of social collapse. The 
> documentation produced could thus be seen as a mapping of the grey areas 
> lurking at the cusp of experience, at the edge defining interior and exterior 
> worlds.
> 
> The explorations undertaken in the project, to my mind, entertain the tropes 
> of the flâneur and the environmental notations of Benjamin, whilst drawing on 
> the English tradition of satire to draw a surreal, comedic, psychotic 
> urbanism into throwaway experience, junk fiction. In this effort, a poetry of 
> space emerges, although one which may only be revealed through exploration of 
> the maps.
> 
> Daniel
> 
> On Fri, 20 Apr 2018 8:59 pm Dale Hudson,  > wrote:
> --empyre- soft-skinned space--
> Thanks, Philip, for these insights in your two projects.
> 
> The negotiations between a focus on particularities of a location or 
> relationships between various locations reproductive. Comparable ones are 
> present in many of the questions asked in environmental studies.
> 
> I’m also curious to know what others think? 
> 
> The different sources of footage for _Slow Return_ seems as thought it would 
> invite us to think through these tensions. The story of the water from a 
> melting glacier becoming contaminated with pollution before flowing into the 
> sea seems as though it would remain “invisible” to many people despite the 
> satellite and webcams. The trope of “slow return” almost seems to evoke a 
> slow awareness of the return of human-activity that can caused the glacier to 
> be melting and the water to polluted.
> 
> Best,
> Dale
> 
>> On Apr 16, 2018, at 20:05, Philip Cartelli > > wrote:
>> 
>> --empyre- soft-skinned space--
>> Thanks to Dale for the invitation. My contribution is a bit wide-ranging, 
>> since I’d like to take the opportunity to explore a new project as well, my 
>> first major work since ‘Promenade,’ included in Invisible Geographies.
>> 
>> In this new project, ‘Slow Return,’ I use my own original footage as well as 
>> satellite and webcam imagery to depict and connect the source of the Rhone 
>> River in the Swiss Alps and its estuary in southern France. The Rhone 
>> Glacier’s situation is particularly urgent as it’s in an advanced stage of 
>> melting and will likely have completely disappeared by the end of the 
>> current century. At its other extremity, the Rhone flows past southern 
>> Europe’s largest petrochemical port, a major source of pollution, on its way 
>> out to the Mediterranean Sea.
>> 
>> One of the challenges that I face in this project is creating connections or 
>> cause/effect links beyond the natural resource that links these two regions, 
>> which is where the alternative footage comes in, allowing me to make such 
>> links evident through the human-made surveillance technologies that are in 
>> many ways products of the same industrial production and environmental 
>> control that led to the Rhone Glacier’s current condition. But when I tend 
>> towards these macro perspectives, I’m aware of neglecting the specificity of 
>> each location. This has led me reflect how I faced a similar conundrum in 
>> ‘Promenade.’
>> 
>> In 'Promenade,' I attempted to reconcile the two by a taking a more 
>> formalistic, distant approach from my subjects, which I blended with 
>> repetition and duration in a narrative sense to emphasize the simultaneous 
>> structural and experiential aspects of changing modes of use in a 
>> redeveloped public space. In following the conversation so far this month, 
>> I’ve seen similar questions posed by others with regard to projects they’ve 
>> either made or viewed.  So, I’d ask: how does the imperative of 
>> ‘documentary’ structure our negotiations (whether as documentarians, 
>> filmmakers, artists, critics, theorists) o

Re: [-empyre-] Week 3 of the April 2018 discussion: New Media Documentary Practice

[Marianna & Daniel O'Reilly]

--empyre- soft-skinned space--Dear Dale and empyre subscribers, thanks for hosting us this week.

Location and experience form the fictional backbone of the psychogeographic
fantasies presented in Neo London, and the documentary format is used to
explore the language and tropes of mundane news and social commentary,
revealing a perverse excitement at the prospect of social collapse. The
documentation produced could thus be seen as a mapping of the grey areas
lurking at the cusp of experience, at the edge defining interior and
exterior worlds.

The explorations undertaken in the project, to my mind, entertain the
tropes of the flâneur and the environmental notations of Benjamin, whilst
drawing on the English tradition of satire to draw a surreal, comedic,
psychotic urbanism into throwaway experience, junk fiction. In this effort,
a poetry of space emerges, although one which may only be revealed through
exploration of the maps.

Daniel

On Fri, 20 Apr 2018 8:59 pm Dale Hudson,  wrote:

> --empyre- soft-skinned space--
> Thanks, Philip, for these insights in your two projects.
>
> The negotiations between a focus on particularities of a location or
> relationships between various locations reproductive. Comparable ones are
> present in many of the questions asked in environmental studies.
>
> I’m also curious to know what others think?
>
> The different sources of footage for _Slow Return_ seems as thought it
> would invite us to think through these tensions. The story of the water
> from a melting glacier becoming contaminated with pollution before flowing
> into the sea seems as though it would remain “invisible” to many people
> despite the satellite and webcams. The trope of “slow return” almost seems
> to evoke a slow awareness of the return of human-activity that can caused
> the glacier to be melting and the water to polluted.
>
> Best,
> Dale
>
> On Apr 16, 2018, at 20:05, Philip Cartelli  wrote:
>
> --empyre- soft-skinned space--
> Thanks to Dale for the invitation. My contribution is a bit wide-ranging,
> since I’d like to take the opportunity to explore a new project as well, my
> first major work since ‘Promenade,’ included in Invisible Geographies.
>
> In this new project, ‘Slow Return,’ I use my own original footage as well
> as satellite and webcam imagery to depict and connect the source of the
> Rhone River in the Swiss Alps and its estuary in southern France. The Rhone
> Glacier’s situation is particularly urgent as it’s in an advanced stage of
> melting and will likely have completely disappeared by the end of the
> current century. At its other extremity, the Rhone flows past southern
> Europe’s largest petrochemical port, a major source of pollution, on its
> way out to the Mediterranean Sea.
>
> One of the challenges that I face in this project is creating connections
> or cause/effect links beyond the natural resource that links these two
> regions, which is where the alternative footage comes in, allowing me to
> make such links evident through the human-made surveillance technologies
> that are in many ways products of the same industrial production and
> environmental control that led to the Rhone Glacier’s current condition.
> But when I tend towards these macro perspectives, I’m aware of neglecting
> the specificity of each location. This has led me reflect how I faced a
> similar conundrum in ‘Promenade.’
>
> In 'Promenade,' I attempted to reconcile the two by a taking a more
> formalistic, distant approach from my subjects, which I blended with
> repetition and duration in a narrative sense to emphasize the simultaneous
> structural and experiential aspects of changing modes of use in a
> redeveloped public space. In following the conversation so far this month,
> I’ve seen similar questions posed by others with regard to projects they’ve
> either made or viewed.  So, I’d ask: how does the imperative of
> ‘documentary’ structure our negotiations (whether as documentarians,
> filmmakers, artists, critics, theorists) of questions of specificity v.
> larger mechanisms/themes/connections? Is something lost when we hew too
> closely to one or the other?
>
> On Mon, Apr 16, 2018 at 11:15 AM, Dale Hudson  wrote:
>
>> --empyre- soft-skinned space--
>> 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 discussion.
>>
>> 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 envi

Re: [-empyre-] Week 3 of the April 2018 discussion: New Media Documentary Practice

[Dale Hudson]

--empyre- soft-skinned space--Thanks, Philip, for these insights in your two projects.

The negotiations between a focus on particularities of a location or 
relationships between various locations reproductive. Comparable ones are 
present in many of the questions asked in environmental studies.

I’m also curious to know what others think? 

The different sources of footage for _Slow Return_ seems as thought it would 
invite us to think through these tensions. The story of the water from a 
melting glacier becoming contaminated with pollution before flowing into the 
sea seems as though it would remain “invisible” to many people despite the 
satellite and webcams. The trope of “slow return” almost seems to evoke a slow 
awareness of the return of human-activity that can caused the glacier to be 
melting and the water to polluted.

Best,
Dale

> On Apr 16, 2018, at 20:05, Philip Cartelli  wrote:
> 
> --empyre- soft-skinned space--
> Thanks to Dale for the invitation. My contribution is a bit wide-ranging, 
> since I’d like to take the opportunity to explore a new project as well, my 
> first major work since ‘Promenade,’ included in Invisible Geographies.
> 
> In this new project, ‘Slow Return,’ I use my own original footage as well as 
> satellite and webcam imagery to depict and connect the source of the Rhone 
> River in the Swiss Alps and its estuary in southern France. The Rhone 
> Glacier’s situation is particularly urgent as it’s in an advanced stage of 
> melting and will likely have completely disappeared by the end of the current 
> century. At its other extremity, the Rhone flows past southern Europe’s 
> largest petrochemical port, a major source of pollution, on its way out to 
> the Mediterranean Sea.
> 
> One of the challenges that I face in this project is creating connections or 
> cause/effect links beyond the natural resource that links these two regions, 
> which is where the alternative footage comes in, allowing me to make such 
> links evident through the human-made surveillance technologies that are in 
> many ways products of the same industrial production and environmental 
> control that led to the Rhone Glacier’s current condition. But when I tend 
> towards these macro perspectives, I’m aware of neglecting the specificity of 
> each location. This has led me reflect how I faced a similar conundrum in 
> ‘Promenade.’
> 
> In 'Promenade,' I attempted to reconcile the two by a taking a more 
> formalistic, distant approach from my subjects, which I blended with 
> repetition and duration in a narrative sense to emphasize the simultaneous 
> structural and experiential aspects of changing modes of use in a redeveloped 
> public space. In following the conversation so far this month, I’ve seen 
> similar questions posed by others with regard to projects they’ve either made 
> or viewed.  So, I’d ask: how does the imperative of ‘documentary’ structure 
> our negotiations (whether as documentarians, filmmakers, artists, critics, 
> theorists) of questions of specificity v. larger 
> mechanisms/themes/connections? Is something lost when we hew too closely to 
> one or the other?
> 
> On Mon, Apr 16, 2018 at 11:15 AM, Dale Hudson  > wrote:
> --empyre- soft-skinned space--
> 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 
> discussion.
> 
> 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 emerg

Re: [-empyre-] Week 3 of the April 2018 discussion: New Media Documentary Practice

[Philip Cartelli]

--empyre- soft-skinned space-- Thanks to Dale for the invitation. My contribution is a bit wide-ranging,
since I’d like to take the opportunity to explore a new project as well, my
first major work since ‘Promenade,’ included in Invisible Geographies.

In this new project, ‘Slow Return,’ I use my own original footage as well
as satellite and webcam imagery to depict and connect the source of the
Rhone River in the Swiss Alps and its estuary in southern France. The Rhone
Glacier’s situation is particularly urgent as it’s in an advanced stage of
melting and will likely have completely disappeared by the end of the
current century. At its other extremity, the Rhone flows past southern
Europe’s largest petrochemical port, a major source of pollution, on its
way out to the Mediterranean Sea.

One of the challenges that I face in this project is creating connections
or cause/effect links beyond the natural resource that links these two
regions, which is where the alternative footage comes in, allowing me to
make such links evident through the human-made surveillance technologies
that are in many ways products of the same industrial production and
environmental control that led to the Rhone Glacier’s current condition.
But when I tend towards these macro perspectives, I’m aware of neglecting
the specificity of each location. This has led me reflect how I faced a
similar conundrum in ‘Promenade.’

In 'Promenade,' I attempted to reconcile the two by a taking a more
formalistic, distant approach from my subjects, which I blended with
repetition and duration in a narrative sense to emphasize the simultaneous
structural and experiential aspects of changing modes of use in a
redeveloped public space. In following the conversation so far this month,
I’ve seen similar questions posed by others with regard to projects they’ve
either made or viewed.  So, I’d ask: how does the imperative of
‘documentary’ structure our negotiations (whether as documentarians,
filmmakers, artists, critics, theorists) of questions of specificity v.
larger mechanisms/themes/connections? Is something lost when we hew too
closely to one or the other?

On Mon, Apr 16, 2018 at 11:15 AM, Dale Hudson  wrote:

> --empyre- soft-skinned space--
> 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 discussion.
>
> 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.
>
> Best,
> Dale
>
> Bios:
>
> 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.