graphic design

Up until now, everyone alive on earth was bound to one another through African Eve, our last common ancestor, who 5,000 generations ago passed her genes and language to sons and daughters who did the same as they gradually populated the world. Today, however, Square, Circle and the other inhabitants of Flatland have the opportunity to step outside this lineage. To rearrange the bodies of animals, plants, and even themselves. VAS: An Opera in Flatland is the story of Square’s decision to undergo an operation that will leave him sterile for the good of his wife, Circle, for the good of their daughter, Oval, and for the good of society, including the unborn descendants he will never have. VAS is, in other words, the story of finding one’s identity within the double-helix of language and lineage—and Square’s struggle to see beyond the common pages of ordinary, daily life upon which he is drawn.

Utilizing a wide and historical sweep of representations of the body, from pedigree charts to genetic sequences, this hybrid novel recounts how differing ways of imagining the body generate differing stories of knowledge, power, history, gender, politics, art, and, of course, the literature of who we are. It is the intersection of one tidy family’s life with the broader times in which they live.

VAS will be of interest to anyone concerned with the futures we are now writing into existence.

(Source: http://www3.nd.edu/~stomasul/VAS_homepage.html)

The Reverberatory Narrative: Toward Story as a Multisensory Network is an evolving, transmedia series that employs print, film, installation and digital practices in the assembling and disassembling of lyric essays, poetry, graphic design, photography and physical artifacts in an experimental documentary of memory, time and story. The initial form of this documentary work was an installation at the photography gallery Agnes in Birmingham, Alabama in 1993, titled "Undressing Audrey," in which the viewer physically "undressed" the book, slipping text from a woman's garments, one button and layer at a time. Through subsequent, increasingly digital interpretations, Pretty relied on a layered structure that attempted to approximate the original installation experience through a series of overlapping narrative threads that could be sorted and resorted by different contexts and media types, such as time, place, character, artifact, image, audio, and video, among others. Its current experiment extends the work to augmented reality in an effort to return Pretty to its origin as installation — as a multi-sensory experiment in physical space with a digital layer — the final leg of a journey began in 1989.

(Source: ELO Conference site)