Swan Song is a video work discussing the experience of interaction and independence, and the feeling of being rejected.
“Radical evasive maneuvers within a virtual reality flight simulator rarely help those who suffer from vertigo. A balanced sense of well-being is unlikely to result from repeated consultation of maps, radar, and similar technological prosthesis. If you suffer from persistent feelings of dislocation, loss of control, dizziness, and a fear of falling, please consult your physician.” --- Partially completed during a media arts residency at the Experimental Television Center in Owego, New York, this flicker-video rapidly intercuts scenes from two classic Hollywood films about men and their flying machines with original imagery shot at the Intrepid Air and Space Museum in New York City.
Sushi lists his tastes and desires by drawing a fragmented but conventional identity through an interpretation of television genres. 6th Independent Vídeo & Interactive Phenomena Show
Consumer confidence is what makes the world go round. It is also a destructive force that will eventually bring the earth to ecological collapse. Yet there's hope: a new spectre is haunting the Western World - the spectre of Consumer Unconfidence. Why is the lifestyle of consumerism a source of such rage today? How come the privilege of buying goods does not automatically lead to happiness? Why all this emptiness despite our wealth?
UntitledVoice 1: “They said that oblivion was their ruling passion. They wanted to reinvent everything each day; to become the masters of their own lives. Just as we do not judge an individual by what he thinks about himself, we cannot judge such a period of transformation by its own consciousness. On the contrary, this consciousness must be understood as reflecting the contradictions of material life, the conflict between social conditions and the forces of social production.”
UntitledA symbolic history of Kapital -- a symbolic history of the West. Inspired by Kasimir Malevich's minimalist artworks and the struggles for resources in the age of peak oil, Suprematist Kapital was born of the want to create a visual artwork that could be displayed on many different-sized mediums regardless of resolution, e.g., theater screens, mobile devices, ipod's, etc. When once technology as progress was an end in itself, it became the handmaiden of capitalist accumulation and war, and is now a form of capital itself in the age of peak oil.
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