The show was in November, 2021, before all hell broke loose. And the catalogue just came out, June 2022.
Cecilia Dougherty (USA) DRIFT web-based art, 2020
“Drift” tells the story of a walk the artist took in March, 2020, along the North Shore of Staten Island, NY, just as it was beginning to dawn on people that leisurely strolls might be a bad idea at the present moment. The project was created using basic HTML/CSS coding, and the images were taken with an iPhone. The artist takes a final stroll through favorite parts of her neighborhood before lockdown.
Descriptions of the surroundings and a chronicle of events of the pandemic are mixed with critical thoughts on virus capitalism, such as the experience of resisting the virus in the USA and the inaction of the Trump administration.
I like the way my piece, Drift, is displayed – it’s a good size – not gigantic and not tiny, and it’s at a height and an angle that looks pretty accessible to me. Thank you, CYFEST!
The ferry, the bus, the subway. Walk, too. Walk around the neighborhood in the early morning hours, especially, when few people are up and about and you can occasionally take off your mask and enjoy the air, the colors of dawn, and the fragrance of the fall.
Announcing the launch of my new web-based essay, RIDE, about what it feels like being in public and being on public transit in New York. A complete environment for daydreaming, people-watching, and finding your place, your role, in the city.
Interweaving archaeological evidence with speculative fiction, Cecilia Dougherty’s web-based drama Time Before Memory (2019) interrogates the origins of our species and prompts reflection on its present state. Set during the Paleolithic Age (29,900-40,000 years ago) the multimedia play unfolds in three acts, each containing an indefinite number of scenes. The multimedia work was created with Twine — an open-source, engaging story generation platform — and combines elements of video games, literature, photography, and video. The tension between individual autonomy versus collective action, alongside interrelated issues of land, migration, and competition, is a major theme throughout Time Before Memory. Given such motifs, Dougherty’s inventive work of electronic literature resonates in our immediate moment, one marked by toxic individualism, scarcity of resources, and widespread fear stoked by nativist rhetoric.
Read the entire review HERE – it’s a really good read. Tony Huffman understands this piece.
Today, fundamental changes are taking place on our planet, and our entire lifestyle is being re-examined. We’re seeing other forms of life existing in what feels like a parallel universe – which we used not pay such close attention to – now invade our lives. Such inalienable rights as freedom of movement, meeting friends, socializing, and saying our last farewells have suddenly become impossible. The pandemic caught us unaware. Like in Noah’s Ark, we are locked up with our families and pets, or on our own as we move towards a new technogenic life. Virtual reality has suddenly crept into our lives and is asserting its rights. Social networks are becoming the only form of contact with the outside world, with friends and family. If personal QR-codes contain all the information about a person, including biological data, then where will the boundary of state interference in our private lives be? Perhaps, this crucible of changes will change society and our everyday reality drastically, help us to shed the unnecessary and superficial things in life, and to gain a better understanding of ourselves and the people around us. –theme description from the Cyfest/Cyland site
Francesca Fini (Italy), /S)CONFINAMENTO — first chapter, 2020