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Sunday, May 31, 2009
EVINRUD - 13
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Feel pretty crap. Try not to show it. Still not fully conscious. Shitload of drugs pumping through my veins. According to the Monitor I’m supposed to be grateful I’m alive. Whatever. All I know is my ribs hurt like a bastard and my legs ache from all the strain.
I was brought out of coma yesterday into this white room. Out for over a month. Touch and go for the first two days but once I was out of danger my body apparently recovered quickly. The automated physio getting more intense as my broken bones healed. And now I’m in some kind of muscle suit that’s supposed to get me back in synch. This information is fed to me by a straight faced medico on the Monitor, he described himself as a trauma surgeon.
It was definitely traumatic. I can’t remember the crash…. just the missiles and him… the other Rider. But where the hell did He come from? Doc on the Monitor says not to force the memories, let everything come back in its own time. Fuck that. I need to know what happened, who he was…. who he is. I need Evinrud.
Gabriel came last night. He passed me the Katana and a new pair of black loafers via hermetic seal. Then he sat in the room outside and spoke to me through the door. Nice touch. Says they don’t want to risk infection, my lungs still weak. Same excuse for this unit strapped to my leg, feeding nanotechs into my blood like I’m still connected. They reckon I need it while I recover. I smell bullshit, they’re avoiding telling me something.
G didn’t say much, ‘too soon, you need to get well, not the right environment’. Half dead I could pick he was hedging. My mentor, my fucking friend. Apparently it was him that pulled us out of the wreckage. Can I trust him?
The Monitor says Evinrud is fully repaired. Good old Bin, crafty bugger but he knows what he’s doing with the cy-engine. Forty storey drop and our connection never severed. Probably all that saved me from dying of blood loss.
It says they’re reconnecting us tomorrow. Testing nerve conditions and sensitivity and if I get the green light I can ditch the bag on the leg and get the real thing. Evinrud. Two weeks in the pulse have gotta be better than the robotic limb pummeling I’m getting now.
I need to think, try to figure this shit out. Never been any good at it though, always better at running than cerebral processing. But something tells me that I can’t run from this. And who the fuck can I trust?
Maybe I just I need to let off some steam. G said they would offer me leave once I was well. This time around I’ll take it. Boot shopping and a few beers, back to life presents to myself.
I was brought out of coma yesterday into this white room. Out for over a month. Touch and go for the first two days but once I was out of danger my body apparently recovered quickly. The automated physio getting more intense as my broken bones healed. And now I’m in some kind of muscle suit that’s supposed to get me back in synch. This information is fed to me by a straight faced medico on the Monitor, he described himself as a trauma surgeon.
It was definitely traumatic. I can’t remember the crash…. just the missiles and him… the other Rider. But where the hell did He come from? Doc on the Monitor says not to force the memories, let everything come back in its own time. Fuck that. I need to know what happened, who he was…. who he is. I need Evinrud.
Gabriel came last night. He passed me the Katana and a new pair of black loafers via hermetic seal. Then he sat in the room outside and spoke to me through the door. Nice touch. Says they don’t want to risk infection, my lungs still weak. Same excuse for this unit strapped to my leg, feeding nanotechs into my blood like I’m still connected. They reckon I need it while I recover. I smell bullshit, they’re avoiding telling me something.
G didn’t say much, ‘too soon, you need to get well, not the right environment’. Half dead I could pick he was hedging. My mentor, my fucking friend. Apparently it was him that pulled us out of the wreckage. Can I trust him?
The Monitor says Evinrud is fully repaired. Good old Bin, crafty bugger but he knows what he’s doing with the cy-engine. Forty storey drop and our connection never severed. Probably all that saved me from dying of blood loss.
It says they’re reconnecting us tomorrow. Testing nerve conditions and sensitivity and if I get the green light I can ditch the bag on the leg and get the real thing. Evinrud. Two weeks in the pulse have gotta be better than the robotic limb pummeling I’m getting now.
I need to think, try to figure this shit out. Never been any good at it though, always better at running than cerebral processing. But something tells me that I can’t run from this. And who the fuck can I trust?
Maybe I just I need to let off some steam. G said they would offer me leave once I was well. This time around I’ll take it. Boot shopping and a few beers, back to life presents to myself.
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Sunday, May 24, 2009
Random Bytes - 4
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Wonderkind 2
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In Wonderkind 2 the angel is facing us but it remains faceless. It’s blonde fringe covering its features protecting us from its gaze. It is listening; its head is attentive, its hair is raised over its ears. What are we asking? Would it or could it respond? Perhaps it is listening for the sound of its audience’s own awe. Black bars cross the sky. It presents itself as totemic and stylized, wrapped in curls, fur and crumpled fabric it is almost cocooned. It stands self contained, its wings fully stretched and fanned. Like a peacock It has become an emblem of display perched on its plinth.
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Thursday, May 21, 2009
Monday, May 18, 2009
IMPOSSIBLE GIRL - 23
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Virtual look-booking for the next season on the flight home:
White organza and cotton suicide cuffs (by me)
Black calf skin baddy doll dress with rubber mini (by BD&M, I love what they do)
Scarfed silk blouse with princess shoulders (by me)
and Bluenose heel (by Kitty Croquet)
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Random Bytes - 3
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Wonderkind 1
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Wonderkind 1
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Wonderkind 1 takes its cues from Hellenistic sculpture, contemporary fashion advertising and the chimeras and hybrids of world mythology. It’s an angel of course; an expression of the divine, but it is not necessarily benevolent. It is a harbinger of some undisclosed certainty, good or bad. Its back to us, and its face buried in dark curls, it is vastly indifferent to our presence, pre-occupied and self contained. It is both winged for flight and grounded in place on its marble plinth. Beyond it we see a fragment of a view, a vacant plain of indeterminate features, perhaps our world, perhaps another, or somewhere in-between.
Saturday, May 16, 2009
EVINRUD - 12
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‘Gabriel, we have satellite confirmation, it was definitely the target.’
‘fine’
‘We expect full diagnostics and…’
I pull out the ear piece and flick off the DAT. ‘I know exactly what you expect.’
I can’t be more than a minute behind the crash. The Jag tears up the freeway shoulder. I’m doing 200 and not slowing for anyone.
‘Exit, 15 metres’. GPS states the obvious, hard to miss the explosion site. It’s diverting the attention off Reece for the moment, not every day a forty storey industrial furnace explodes.
He’s less than 900 metres from the explosion site. We’ve been tracing since the first missile lock on them. I pull the Jag away from the barrier, sling shot us down the industrial off ramp and we fish tail out onto the trucking service road still doing 150.
Sirens are wailing, there is a blazing industrial hell on my right and a cloud of black forming in the sky. Quick scan of the road, it’s almost deserted. GPS, 800m… 400m.
I see the impacted truck, rip past two light trucks stopped in the middle of the road, cover another 200m and brake. The Jag won’t cut it. The boy is not going to be walking out of that, even if the unit is operational. Reverse 200m, brake and leave the Jag where it stands, disposable. I’m not exactly traceable, even if they manage to find a stray hair.
The two truck drivers are gawking at the pretty orange and black explosions. First truck nothing, second truck, Bingo…a hydraulic Pal Lifter and the motors running. I shoot the tyres out of the first truck and climb into the cab of the second one. The driver’s faces registering shock as I pull away.
We were so close… Mercury… my first scent of him in years. And their fears confirmed, he’s completed the bio-connection without them. He’s got new sponsors. He’s got twenty years of hate on us. And if the boy survives it will only have been by dumb luck. Was it worth it?
There’s another disbelieving truck driver standing beside the impacted Semi. This one’s angry.
‘Did you see it? Something fucking hit my truck. World War three or wha…. Who are you?’
‘I’m with the anti-terrorism department.’ I show him a badge and while he is trying to decide what to make of it, I get a syringe in his neck and he’s down.
Reece is unconscious and the unit is a dismembered mess.
It’s their fault, they made a deal with the devil and then they lost.
When you play with the devil you always get burned. Hah…. I suppose I should take a bit of my own advice. It’s too late for me though, probably too late for the boy as well...
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‘Gabriel, we have satellite confirmation, it was definitely the target.’
‘fine’
‘We expect full diagnostics and…’
I pull out the ear piece and flick off the DAT. ‘I know exactly what you expect.’
I can’t be more than a minute behind the crash. The Jag tears up the freeway shoulder. I’m doing 200 and not slowing for anyone.
‘Exit, 15 metres’. GPS states the obvious, hard to miss the explosion site. It’s diverting the attention off Reece for the moment, not every day a forty storey industrial furnace explodes.
He’s less than 900 metres from the explosion site. We’ve been tracing since the first missile lock on them. I pull the Jag away from the barrier, sling shot us down the industrial off ramp and we fish tail out onto the trucking service road still doing 150.
Sirens are wailing, there is a blazing industrial hell on my right and a cloud of black forming in the sky. Quick scan of the road, it’s almost deserted. GPS, 800m… 400m.
I see the impacted truck, rip past two light trucks stopped in the middle of the road, cover another 200m and brake. The Jag won’t cut it. The boy is not going to be walking out of that, even if the unit is operational. Reverse 200m, brake and leave the Jag where it stands, disposable. I’m not exactly traceable, even if they manage to find a stray hair.
The two truck drivers are gawking at the pretty orange and black explosions. First truck nothing, second truck, Bingo…a hydraulic Pal Lifter and the motors running. I shoot the tyres out of the first truck and climb into the cab of the second one. The driver’s faces registering shock as I pull away.
We were so close… Mercury… my first scent of him in years. And their fears confirmed, he’s completed the bio-connection without them. He’s got new sponsors. He’s got twenty years of hate on us. And if the boy survives it will only have been by dumb luck. Was it worth it?
There’s another disbelieving truck driver standing beside the impacted Semi. This one’s angry.
‘Did you see it? Something fucking hit my truck. World War three or wha…. Who are you?’
‘I’m with the anti-terrorism department.’ I show him a badge and while he is trying to decide what to make of it, I get a syringe in his neck and he’s down.
Reece is unconscious and the unit is a dismembered mess.
It’s their fault, they made a deal with the devil and then they lost.
When you play with the devil you always get burned. Hah…. I suppose I should take a bit of my own advice. It’s too late for me though, probably too late for the boy as well...
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Studio IMP - 2
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The Impossible Place goes retail at Vein
As of this Friday the 22th of May
Vein will be retailing original Impossible Place art by Chris Worfold
(previewed above)
The works will range from $200 to $400 (Aus)
Very affordable
So get in quick, check out Vein's new season range, and start collecting.
Vein Store
Shop 25b TCB Building
btw Brunswick St Mall & Chinatown Mall
Fortitude Valley, QLD 4006
Random Bytes - 2
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Cheshire Kitty
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Cheshire Kitty
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‘But I don’t want to go among mad people,’ Alice remarked.
‘Oh, you can’t help that,’ said the Cat: ‘we’re all mad here. I’m mad. You’re mad.’
‘Oh, you can’t help that,’ said the Cat: ‘we’re all mad here. I’m mad. You’re mad.’
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‘All right,’ said the Cat; and this time it vanished quite slowly, beginning with the end of the tail, and ending with the grin, which remained some time after the rest of it had gone.
‘All right,’ said the Cat; and this time it vanished quite slowly, beginning with the end of the tail, and ending with the grin, which remained some time after the rest of it had gone.
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excerpts from
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Monday, May 11, 2009
Random Bytes - 1
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Deer Hunter with Knitted Peep
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Spectre with Band March Boot
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Shoes by Kitty Croquet
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Paintings by Chris Worfold
Acrylic on paper mounted on Skatedeck
$250 (AUS) each
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Studio IMP - 1
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We've started a number of new initiatives here at IMP,
the first of which is a new label called Studio IMP.
It will be a place for a behind the scenes look at the studio, works in progress and discussion.
A number of people have asked us,
how did THE IMPOSSIBLE PLACE evolve?
So I've decided to post the inital ideas I wrote down in early 2007.
IMP THEORY
PART 1
After visiting Taiwan I was interested in how mythical stories and deities pervaded the culture whilst the approach to everyday life was very pragmatic and focused. I was interested in how history had quickly become mythologised and how rational and foreign modernity had been adopted to model a nation. What alienation had occurred or was occurring in the rift between the public face and the private world? How did an imaginative personal life co-habit?
My thoughts quickly expanded beyond the geography Taipei to of the extremes of Otuku and Harajuku cultures in near by Japan.
Quotes from - http://en.wikipedia.org/wiki/Otaku - June 2007
Otaku is a Japanese term used derogatively to refer to people with obsessive hobbies, most commonly manga or anime.
In modern Japanese slang, the term otaku refers to an overtly obsessive fan of any one particular theme, topic, or hobby. Common uses are anime otaku (one who sometimes enjoys many days of excessive anime watching with no rest) and manga otaku (a fan of Japanese graphic novels), pasokon otaku (personal computer geeks), gēmu otaku (playing video games), and wota (before referred as "idol otaku") that are extreme fans of idols, heavily promoted singing girls. There are also tetsudō otaku or denshamania (metrophiles) or gunji otaku (military geeks).
Harajuku girl is a term for girls who gather in the Harajuku district of Tokyo in Japan. "Harajuku Girls" are fashion aficionados and/ or the home sewing hobbyists They are dressed in any of several distinct styles of clothing that originated in the culture of Japan's major cities. The "Harajuku style," named after Harajuku station, combines a wide range of diverse influences.
Many different fashion styles may be found among the girls who spend time in Harajuku, including Gothic Lolita, Gothic Maid, Wamono, Decora, Second-Hand Fashion, and cyber fashion. The Japanese street fashion magazine, FRUiTS, features many of the varied clothing styles that are popular in the Harajuku district.
These cultures of fantasy and display have become global trends and when combined with myriad forms of self publishing and exposure on the internet we see a new creative culture emerging. New myths and models are constantly being regenerated from fragments and remnants of previous cultural elements and merged with new technologies and new practices.
Elaborate fictions are created to function and serve as realities. Media displaces or becomes a reality in otaku culture. Screens, paper, plastic and synthetic materials serve as the commodities of consciousness. The physical and material world is avoided and replaced by obsessions with designs, images and words.
Media characters function as surrogates to house thoughts and imagined actions without social consequence. Natural flaws are eradicated and smoothed over, boredom is alleviated, time is compressed, and the drama is intensified. Play acting becomes a legitimate response and culture becomes a commodity.
All this is traditionally framed as a negative. But I came to realize that culture is the only real commodity. Everything else is driven by it, framed by it. Culture creates desire and now desire rather than necessity creates commodity.
PART 2
Whilst in Taipei I was fortunate to meet the Museum of Contemporary Art -Director Hsiang-Ling Lai and International Curator Sean Hu. Their ideas and discussion were also revealing…
Quotes from – http://www.mocataipei.org.tw/_english/1_about/0_overview_taipei.asp - June 2007
The Cross-fertilization of Contemporary Culture-Due to the ongoing tide of digitization and technological progression in our era, contemporary culture has entered a period of unprecedented international dialogue and integration.
The future of regional cultures will depend on how the “globalization” trend is converted into a stimulus for dialogue among those cultures and then used to deepen self-awareness of the original cultural matrices and to reposition them.
Art trends since the 1980s have opened the boundaries between high and low art, between art and other disciplines, and between art and social life. Art’s diverse media and the content of diverse cultures have mixed together disparate fields of inquiry such as art, science, philosophy, the aesthetics of living, and cultural study.
The globalization phenomenon has already manifested itself in economics, culture, technology, and communication. Elements from the foreign cultures of different regions are being exchanged with increasing frequency.
This rich intercultural dialogue and exchange will help to expand people’s horizons and stimulate new, progressive thinking on culture. Even more, it may become a never-ending source for the creative energy that drives contemporary cities.
I misread this as…Even more, it may become that a never-ending source of creative energy is what drives contemporary cities.
Interaction between boundary-transgressing contemporary art and different social groups in order to bring art outside of the museum and into the life of society, thereby changing the face of the city, has always been one of MOCA’s goals, so it has been gradually building on this foundation.In the future, MOCA will pursue a more multidirectional plan for development, under which art becomes an interface for remolding the urban landscape and experimenting with various novel realms in urban landscape, in order to achieve the forward-looking concept of making the city’s subjective,distinctive qualities a foundation for global dialogue.
At this point it crystallized in my mind; that it is creative energy driving us, it is open narratives in constant construction that guide us, make us and entertain us. Creativity is no longer contained or isolated in ‘Art’, and that it has already been dissolved and disseminated. In this state creativity is the culture and the currency of our world.
When I applied this thinking to my own ‘world’ I realized that the barriers and boundaries restraining creative behavior and practice exist only because they are nurtured by redundant myths and bureaucracies.
If they were to be done away with what would happen then? Well I would still make what I deem to be art but why isolate art with other art? Instead mix art with architecture, fashion, illustration, design, music, writing, etc. Stories and images and sounds which could extend far beyond the instance of their creation to be used relocated and transformed.
The product of such collaborations may be housed temporarily in the cleanness of art spaces or in the fluidity of an online environment yet there true place would be in the minds and the lives of others.
This new model for merging of art, culture, design, narrative and dialogue, questions existing modes of creativity coming from the private artist’s studio and being placed in the exclusive institution.
It allows audience access to other areas of creativity, commerce and community.
The singularity of the artist as a brand can be dissolved into collective participation and cross promotion from which individuals can then share and network into other communities.
It can be seen as the world as designed, created and crafted into new existences and behaviors and relationships.
Fashions, beliefs and desires are the primary drives our contemporary societies and they are constantly mutable, they affect our models of manufacture and behavior they are imposed on the natural world, reinvented in the technological world only to be consumed again in the world of our imagination.
PART 3
Finally my last and most basic revelation is that people are really and truly opening up to new media.
The devotion of enormous emotional energies to intimate relationships documented in diaries, letters, computers and video are now being posted and evolving publicly. The private intense areas of engagement in people’s lives are becoming disclosed in digital ‘fictions”.
In video logs, web sites, blogs and file shares - fears and joys and perversions once harbored in the floating worlds of the imagination are now finding virtual forms.
The ramifications of these public disclosures are extending into their audiences, their worlds and relationships. These online media presences don’t remain contained in digital space but they are replicated and extended into new dialogues and contexts.
These new media constructions are in themselves becoming multi faceted realities which are interfaced with and adopted or assimilated into what is known as life.
-
So they are the concepts that started IMP.
Lets see how far down the rabbit hole they will take us.
Chris.W.
-
We've started a number of new initiatives here at IMP,
the first of which is a new label called Studio IMP.
It will be a place for a behind the scenes look at the studio, works in progress and discussion.
A number of people have asked us,
how did THE IMPOSSIBLE PLACE evolve?
So I've decided to post the inital ideas I wrote down in early 2007.
IMP THEORY
PART 1
After visiting Taiwan I was interested in how mythical stories and deities pervaded the culture whilst the approach to everyday life was very pragmatic and focused. I was interested in how history had quickly become mythologised and how rational and foreign modernity had been adopted to model a nation. What alienation had occurred or was occurring in the rift between the public face and the private world? How did an imaginative personal life co-habit?
My thoughts quickly expanded beyond the geography Taipei to of the extremes of Otuku and Harajuku cultures in near by Japan.
Quotes from - http://en.wikipedia.org/wiki/Otaku - June 2007
Otaku is a Japanese term used derogatively to refer to people with obsessive hobbies, most commonly manga or anime.
In modern Japanese slang, the term otaku refers to an overtly obsessive fan of any one particular theme, topic, or hobby. Common uses are anime otaku (one who sometimes enjoys many days of excessive anime watching with no rest) and manga otaku (a fan of Japanese graphic novels), pasokon otaku (personal computer geeks), gēmu otaku (playing video games), and wota (before referred as "idol otaku") that are extreme fans of idols, heavily promoted singing girls. There are also tetsudō otaku or denshamania (metrophiles) or gunji otaku (military geeks).
Harajuku girl is a term for girls who gather in the Harajuku district of Tokyo in Japan. "Harajuku Girls" are fashion aficionados and/ or the home sewing hobbyists They are dressed in any of several distinct styles of clothing that originated in the culture of Japan's major cities. The "Harajuku style," named after Harajuku station, combines a wide range of diverse influences.
Many different fashion styles may be found among the girls who spend time in Harajuku, including Gothic Lolita, Gothic Maid, Wamono, Decora, Second-Hand Fashion, and cyber fashion. The Japanese street fashion magazine, FRUiTS, features many of the varied clothing styles that are popular in the Harajuku district.
These cultures of fantasy and display have become global trends and when combined with myriad forms of self publishing and exposure on the internet we see a new creative culture emerging. New myths and models are constantly being regenerated from fragments and remnants of previous cultural elements and merged with new technologies and new practices.
Elaborate fictions are created to function and serve as realities. Media displaces or becomes a reality in otaku culture. Screens, paper, plastic and synthetic materials serve as the commodities of consciousness. The physical and material world is avoided and replaced by obsessions with designs, images and words.
Media characters function as surrogates to house thoughts and imagined actions without social consequence. Natural flaws are eradicated and smoothed over, boredom is alleviated, time is compressed, and the drama is intensified. Play acting becomes a legitimate response and culture becomes a commodity.
All this is traditionally framed as a negative. But I came to realize that culture is the only real commodity. Everything else is driven by it, framed by it. Culture creates desire and now desire rather than necessity creates commodity.
PART 2
Whilst in Taipei I was fortunate to meet the Museum of Contemporary Art -Director Hsiang-Ling Lai and International Curator Sean Hu. Their ideas and discussion were also revealing…
Quotes from – http://www.mocataipei.org.tw/_english/1_about/0_overview_taipei.asp - June 2007
The Cross-fertilization of Contemporary Culture-Due to the ongoing tide of digitization and technological progression in our era, contemporary culture has entered a period of unprecedented international dialogue and integration.
The future of regional cultures will depend on how the “globalization” trend is converted into a stimulus for dialogue among those cultures and then used to deepen self-awareness of the original cultural matrices and to reposition them.
Art trends since the 1980s have opened the boundaries between high and low art, between art and other disciplines, and between art and social life. Art’s diverse media and the content of diverse cultures have mixed together disparate fields of inquiry such as art, science, philosophy, the aesthetics of living, and cultural study.
The globalization phenomenon has already manifested itself in economics, culture, technology, and communication. Elements from the foreign cultures of different regions are being exchanged with increasing frequency.
This rich intercultural dialogue and exchange will help to expand people’s horizons and stimulate new, progressive thinking on culture. Even more, it may become a never-ending source for the creative energy that drives contemporary cities.
I misread this as…Even more, it may become that a never-ending source of creative energy is what drives contemporary cities.
Interaction between boundary-transgressing contemporary art and different social groups in order to bring art outside of the museum and into the life of society, thereby changing the face of the city, has always been one of MOCA’s goals, so it has been gradually building on this foundation.In the future, MOCA will pursue a more multidirectional plan for development, under which art becomes an interface for remolding the urban landscape and experimenting with various novel realms in urban landscape, in order to achieve the forward-looking concept of making the city’s subjective,distinctive qualities a foundation for global dialogue.
At this point it crystallized in my mind; that it is creative energy driving us, it is open narratives in constant construction that guide us, make us and entertain us. Creativity is no longer contained or isolated in ‘Art’, and that it has already been dissolved and disseminated. In this state creativity is the culture and the currency of our world.
When I applied this thinking to my own ‘world’ I realized that the barriers and boundaries restraining creative behavior and practice exist only because they are nurtured by redundant myths and bureaucracies.
If they were to be done away with what would happen then? Well I would still make what I deem to be art but why isolate art with other art? Instead mix art with architecture, fashion, illustration, design, music, writing, etc. Stories and images and sounds which could extend far beyond the instance of their creation to be used relocated and transformed.
The product of such collaborations may be housed temporarily in the cleanness of art spaces or in the fluidity of an online environment yet there true place would be in the minds and the lives of others.
This new model for merging of art, culture, design, narrative and dialogue, questions existing modes of creativity coming from the private artist’s studio and being placed in the exclusive institution.
It allows audience access to other areas of creativity, commerce and community.
The singularity of the artist as a brand can be dissolved into collective participation and cross promotion from which individuals can then share and network into other communities.
It can be seen as the world as designed, created and crafted into new existences and behaviors and relationships.
Fashions, beliefs and desires are the primary drives our contemporary societies and they are constantly mutable, they affect our models of manufacture and behavior they are imposed on the natural world, reinvented in the technological world only to be consumed again in the world of our imagination.
PART 3
Finally my last and most basic revelation is that people are really and truly opening up to new media.
The devotion of enormous emotional energies to intimate relationships documented in diaries, letters, computers and video are now being posted and evolving publicly. The private intense areas of engagement in people’s lives are becoming disclosed in digital ‘fictions”.
In video logs, web sites, blogs and file shares - fears and joys and perversions once harbored in the floating worlds of the imagination are now finding virtual forms.
The ramifications of these public disclosures are extending into their audiences, their worlds and relationships. These online media presences don’t remain contained in digital space but they are replicated and extended into new dialogues and contexts.
These new media constructions are in themselves becoming multi faceted realities which are interfaced with and adopted or assimilated into what is known as life.
-
So they are the concepts that started IMP.
Lets see how far down the rabbit hole they will take us.
Chris.W.
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