"Chasing Ice is the story of one man's mission to change the tide of history by gathering undeniable evidence of our changing planet. Within months of that first trip to Iceland, the photographer conceived the boldest expedition of his life: The Extreme Ice Survey. With a band of young adventurers in tow, Balog began deploying revolutionary time-lapse cameras across the brutal Arctic to capture a multi-year record of the world's changing glaciers.
As the debate polarizes America and the intensity of natural disasters ramps up globally, Balog finds himself at the end of his tether. Battling untested technology in subzero conditions, he comes face to face with his own mortality. It takes years for Balog to see the fruits of his labor. His hauntingly beautiful videos compress years into seconds and capture ancient mountains of ice in motion as they disappear at a breathtaking rate. Chasing Ice depicts a photographer trying to deliver evidence and hope to our carbon-powered planet."
"Landfill Harmonic tells the story of 'Los Reciclados' - 'The Recycled Orchestra' - a youth orchestra in Cateura, Paraguay, whose instruments are made out of the very trash that the town is built on.
WHEN FAVIO CHAVEZ AND LUIS SZARAN came to Cateura to start a music school, they realized that they had more students than instruments. Thanks to the resourcefulness of Cola, a Cateurian garbage picker, an orchestra came together, now featuring violins, cellos, and other instruments artfully put together from trash. Los Reciclados de Cateura, now an independent orchestra, recently performed in Brazil and Colombia under Chavez's direction."
(Nina Mashurova, 12 December 2012, Matador)
Trailer for "Landfill Harmonic". The project is being created by Alejandra Nash (Founder and Executive Producer), Juliana Penaranda-Loftus (Producer), Rodolfo Madero (Executive Producer), Jorge Maldonado (Co-producer), Graham
Townsley (Director) Jennifer Redfearn (Consulting producer), Tim Fabrizio and Neil Barrett (Directors of Photography) and Monica Barrios (Production Consultant).
"John Baldessari's 1987 work titled The Fallen Easel is made up of nine framed panels containing fragmentary images that seem to add up as a complex non sequitur. The lone diagonal panel shows a grayscale screen print of an easel laying on the ground, while other panels show faces and hands that are sometimes obscured by ovals of bright flat colors. Clearly, we see a rebus of sorts, but its substitution of picture-fragments for a syllogistic circuit remains just outside of the grasp of routine readability. Mentally reassembling them does not help, and the narrative context that would enable the work to be analyzed in the manner of a dream is missing. We can only conclude that the relationship between the work's diverse elements is one of an evocative and visually stylish provisionality, but we remain haunted by it, for it keeps us coming back in search of the key that will unlock its beguiling mystery of allegorical displacements and substitutions. Yes, this is an update of a kind of surrealism, but there is something else going on here as well, something pertaining to the typical psychological distance created by mass media imagery striped of its pretense of narrative coherence. All at once, the linked histories of Surrealism, Pop Art, Conceptual Art and Postmodernism flash before our eyes. We are not in Kansas anymore, but is unclear exactly where we are or where anything else is for that matter."
(Mark Van Proyen, November 2009, art ltd. magazine)
Fig.1 John Baldessari (1987). "The Fallen Easel" colour lithograph and screenprint in five parts printed on paper and aluminium plates. Collection of Jordan D. Schnitzer. Photo: courtesy of Legion of Honor Museum.
"Literary theory and narratology have been helpful to understand cybertexts and videogames. Aristotelian Poetics [Laurel, 1993], Russian formalism [Porush and Hivner, ?], and poststructuralism [Landow, 1992] are some of the different perspectives that have been used to study the subject.
Some authors see cybertexts and videogames as a new form of or as an expansion of traditional narrative or drama. The fact is that these computer programs share many elements with stories: characters, chained actions, endings, settings.
However, there is another dimension that has been usually almost ignored when studying this kind of computer software: to analyze them as games.
The problems of using a 'game' perspective are many. Basically, traditional games have always had less academic status than other objects, like narrative. And because of this, game formalist studies are fragmented through different disciplines, and not very well developed.
In this paper we will propose to explore videogames and cybertexts as games. Our intention is not to replace the narratologic approach, but to complement it. We want to better understand what is the relationship with narrative and videogames; their similarities and differences."
(Gonzalo Frasca, 1999)
Frasca, Gonzalo (1999) 'Ludology Meets Narratology. Similitude and Differences between (Video)games and Narrative'. Originally published in Finnish in Parnasso 1999: 3, 365–71.
"The writerly text is a perpetual present, upon which no consequent language (which would inevitably make it past) can be superimposed; the writerly text is ourselves writing, before the infinite play of the world (the world as function) is traversed, intersected, stopped, plasticized by some singular system (Ideology, Genus, Criticism) which reduces the plurality of entrances, the opening of networks, the infinity of languages."
(Roland Barthes, p.5)
1). Roland Barthes (1970). "S/Z" translated by Richard Miller, Blackwell Publishing.
2). A British one penny coin from 1903, which has been defaced by Suffragettes. Crown copyright.