Published on the Web (social network)

Ear For The Surge is designed to be heard. A work about rage, inspired by Homeric hexameter and coronavirus. Spoken word, stitched together, woven into layers of pain, inequality and sadness. 

Text from internet search terms developed after hearing constant news, constant cries for help, and raging people. 

Found text became the basis for an ongoing hexameter, sound, and video. 

(Source: Author's description)

Coronation is a webcomic created by the Marino family using digital tools and platforms to document our experience of the COVID-19 Pandemic. Since the beginning of the lockdown and the various homestay orders in Los Angeles, we have been creating and publishing one comic per day, five days a week, using a combination of digital tools, specifically filters and graphics applications. Images include photographs from our family albums, screenshots and downloads from Internet-based news sources, as well as original hand-drawn images created using digital tools. As the pandemic continues to sweep the globe, Coronation documents one family’s experience of the ups and downs of the Corona virus and the surrounding times, including the 2020 US Election and its ensuing drama and the Black Lives Matter protests. The comics are profoundly domestic and yet reflective of a global crisis, focusing on intimate family moments, transformed through digital tools into a visual expression of the ongoing homestay during a time of turmoil. As we craft these together, the webcomic has been a way for our family to take this time of chaos and to respond creatively and collaboratively by reflecting on the life in one household. We try to frame our experience with humor, sensitivity, and a medicine that is in quite short supply, hope.Unlike previous pandemics, such as polio, HIV, and the Spanish flu, COVID-19 has emerged at a moment of tremendous digital connectivity. However, the news and social media feeds have created so-called doom scrolling. We have used the digital tools and platforms available to us to rapidly document events, to transform them into comics, and to share them online with a broader world, inviting them into our homestay as we share our climbs and falls, confusion and epiphanies, all born of some unexpected family time.Although our main platforms for distribution are electronic, we have also been producing individual hand-made print versions as well.

(Source: Author's abstract)

a webcomic born during the Coronavirus outbreakand subsequent social isolation of 2020,written by me with my family.

(Author's description)

Shadow Trees compiles and animates images of urban nature. Focusing on shadows cast by trees onto walls, buildings, pavement, and the trunks of other trees, Jody Zellen is able to investigate places where natural and built environments overlap and touch.

The short video disrupts audience expectations of nature films and photography, which are often framed to limit or erase the presence of humans, so that trees are shown to exist in forests, not in city blocks. In so doing, such photographic conventions comfort us by removing our role in the precariosness of their existence, particularly in large metropolitan places like Los Angeles where carbon emissions choke human and nonhuman life alike.

(Source: http://thenewriver.us/shadow-trees/)

A blind date between an American epidemiologist and a Norwegian woman takes place on a transatlantic Skype call. In trying to impress his potential paramour, the American steers the conversation terribly wrong, toward a discussion of the Plague and all the devastating historical memories it entails.  Rats and Cats :: Katter Og Rotter is a film by Roderick Coover and Scott Rettberg. The film is designed both installation (loop) and single channel screening. It is the second in a series of works about memory, desire, catastrophe, and translation. Rats and Cats :: Katter Og Rotter features the voices of Jill Walker and Rob Wittig. The sound technician was Joseph Kramer. The work was made possible in part with funding from the Philadelphia Independent Film and Video Association.

Imagine your body literally immersed in a book. The letters of the alphabet, the punctuation marks have escaped the limits of the page. They seem to have an autonomous life, forming clouds all around you. Reacting to your amazed gaze, the letters find their order to form a sentence. You turn around, abstract shapes float: we don't know if they are images or objects. An omniscient voice is speaking to you. Everything gravitates with joy. Above, lines of code scroll like rain curtains: you are immersed in LIVING PAGES. LIVING PAGES is an original poem that is expressed at the same time as it is contemplated. It is a work of virtual reality based on unconscious interactivity. It is a new form that materializes, in real time, the mental images generated by the user and conveyed by words.

Reflections on gender inequality within the cultural world. Glitch Goddess.

"#GlitchGoddess was originally born out of my #Arthack project on Instagram, which I started in 2016. In my practice I use glitch as a digital aesthetic, technological phenomenon, and as a way in which the digital is transforming and changing the physical. So “she is glitching” is defying the existing concepts of the female shape in art, as she is animated between slender, heavy, young, old, pregnant, curvy, stylized and also abstract, as a contemporary and digital approach to the representation of the female form. Her first hack appearance was in my Frieze London with Kavanaugh hack. I used her in my Art Basel Miami 2018 #arthack, with voices of artists like Joan Semel and Faith Ringgold from a documentary on inequality in the art world, and then it went viral with over 3 million views and 53k shares on my Public Facebook Page, and millions of other views on other art channels." (Marjan Moghaddam, in https://artspiel.org/marjan-moghaddam-pioneering-humanity-in-a-digital-…)