May 8, 2007 at 8:09 am · Filed under Art, Research, Pollution, Atmosphere, Information, Discourse, Mapping, EPA, Manhattan, Government, Toxic, Contamination, 9/11, Brooke Singer
New work made for New Climates
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800 Steps Apart is a video triptych by Brooke Singer and Brian Rigney Hubbard that compares two opposing protocols endorsed by the Environmental Protection Agency (EPA) to handle cleanup in Lower Manhattan post-9/11. A Russian émigré, living at 300 Albany Street, was told by the Red Cross, Federal Emergency Management Agency (FEMA) and the EPA to return to her apartment two weeks after 9/11 and to simply remove the dust and debris with a bucket and a mop. The other site, 130 Liberty Street or the former Deutsche Bank building, is just four blocks from 300 Albany Street, but a world apart in its approach to cleanup. 800 Steps Apart is a video short that is part of a larger documentary project by Singer and Hubbard about communities affected by toxic contamination, abandoned by the EPA and in search of responsive, environmental leadership.
Special thanks to the actors in “800 Steps Apart”: Christopher Murray, Erla Skúladóttir and Elizabeth Sweibel.
– Brooke Singer and Brian Rigney Hubbard
800 Steps Apart questions the response (and responsibility) of government agencies in environmental crises. The administration of toxin-cleanup after 9/11, the video shows, was not uniformly thorough or competent, leaving some victims to suffer the consequences of their contaminated environments. With this terrifying revelation, we are led to question how our government will manage future ecological and environmental disasters that lie on the horizon as a result of climate change. Indeed, 800 Steps Apart challenges the local/global opposition. By uniting a highly localized issue—contamination in Lower Manhattan—and questions of national environmental leadership, the video simultaneously addresses a narrow and broad audience. The way such disasters are handled—even at the level of neighborhoods, blocks and apartments—is relevant to us all; it speaks to our ability and preparedness to deal with environmental emergencies on the global scale—a response that will certainly be tested in decades to come.
April 18, 2007 at 7:23 pm · Filed under Art, New Work, The Future, Time, Information, Experience, Anthony Discenza, Randomness, Recombination, Discourse
New work made for New Climates
Launch Project in a New Window
States is a set of 200 words drawn from scientific and corporate language. Organized into separate, randomly shuffled columns, these word sets combine to produce over 6.2 million potential phrases (or “states”) suggestive of planetary changes either reflective of, or causally related to, human intervention in the climate. By turns absurd and ominous, these randomly generated, linguistically distanced phrases create a continually unfolding series of speculative fictions which contemplate the dystopic and/or catastrophic scenarios produced by climate shift.
– Anthony Discenza
In States, four-word sequences rhythmically appear in a black void. These words, selected by the artist but displayed at random by the software, combine to form often poetic and always surprising discursive “impressions” of the climate change crisis. Rather than recycling or creating images of climate change, already abundant in our visual culture, the Flash project prompts the viewer to generate her/his own mental percepts to accompany the word-strings. At times, chance combinations—such as “Critical Climate Combustion Chronology”—exhibit linguistic phenomena as unexpected as inclement weather and as profound as skillful haiku.
Discenza accesses the discursive network that has been used to discuss climate change in the scientific and corporate worlds, deconstructing and reconstructing it in order to allow for new and potentially subversive combinations. Simultaneously, States illustrates the ways in which meanings are applied to words based on the framework in which they appear—the words acquire “states” of relevance or valence when they are (randomly, endlessly, mechanically) juxtaposed within the context of an exhibition on climate change. In turn, Discenza suggests, these recombinant poems have the potential to shift one’s state of mind, sparking chains of association and new lines of thinking.
