Issue 15

A screenshot of the I voted art

I Voted | Meghan Kozal

In I Voted (2020), artist Megan Kozal uses embedded video clips to examine American news consumption, voter education, and voter apathy. Kozal’s minimalistic web page accentuates the short amount of time it takes American voters to feel informed and guides viewers to political sound bites, debate highlights, and talk show…

Click, Drag, Nip, Tuck | Luke Malcynsky

In the digital collage series, Click, Drag, Nip, Tuck (2019), Luke Malcynsky sheds light on the powerful influence of social media, digital photo-editing tools and cosmetic surgery on societal beauty standards and the female body. In a style reminiscent of early 20th century Dada, the four-part, black-and-white series combines bold designs…

HMU | Marina Tinone

In Marina Tinone’s lyrical essay HMU (2020), they produce an intimate portrait of the narrator’s relationship with a phone. Using allegory and repetition, Tinone portrays a post-internet world in which a user’s experience of the digital world is indistinguishable from their physical space. ::: I need an answer. I need…

The Station | Vi Trinh

The Station is an interactive digital exploration of a post-apocalyptic space station. Based on of the Myth of Sisyphus, and tied to nostalgia as a weapon of ideology, two A.I. Sabrina and Alex, accompany the viewer through the station. Each of the 43 rooms visually and audibly reference various ages…

A Response to Spukhafte Fernwirkung | Truitt Dill

In Spukhafte Fernwirkung (2019), Kailum Graves compacts the endless, challenging landscape of Iceland into a 36-minute time lapse video comprised of images (640×480) taken over a three year period. Beginning the process in Skagaströnd, before moving to more remote locations, Graves compiles and arranges thousands of images in order to…

Kailum Graves | Q&A

Spukhafte Fernwirkung (2019) compacts the endless, challenging landscape of Iceland into a 36-minute time-lapse of images (640×480) collected from www.road.is, a website for monitoring road conditions in Iceland, over a three year period.  Beginning the process in Skagaströnd before moving to more remote locations, Kailum Graves compiles and arranges thousands…

Escaping Apple Fish | Yangyang Chen

Escaping Apple Fish (2020) is a short video piece that comments on the informative fragmentation in the current cyber ecosystem. Yangyang Chen uses Apple’s live fish wallpaper footage to direct attention toward the manipulation of the image, visualized through Apple fish constantly turning back to conceal itself from being exposed….