Crisis has a strange way of prompting us to wake up and acknowledge we are not just individuated units of consciousness. In essence we are specks of free will, interdependent with the larger environment, its creatures and energies, woven in a mysterious cosmic dance.
After a disturbing though not unexpected 2016 election, I set out on a journey to the ends of the Earth. Prompted by a haunting dream I had 15 years earlier, I boarded a handmade wooden, 14 meter, aluminum hulled boat with 7 others. A motley mix of scientists, artists and sailors, we set across the vast expanse of the moody Drakes Passage to Antarctica. With no heat, showers or enough fuel to make the roundtrip, we were left at the mercy of the winds.
Antarctica is an experimental terrain, shrouded in mythical history, “regulated” by a treatise that is being used to speculate space colonization and off Earth resource exploitation. A place where climate scientists collect nuanced data whose findings we as a public, may not see for decades. A land where covert military experiments tie directly to wars being fought in the Middle East. This ecosystem of extremes revealed through sonic landscapes, endless seas and ice presents a mapping of the liminal spaces between fact and fiction, accountability and passivity, imagination and possibility.
This is a personal account of near death, surrender and a radical and relentless pursuit of what it means to be human.
This is a fully interactive VR experience not a 360 video. Experiencers can move objects and will also create detritus impact. As the experiencer moves through the chapters a trail if trash remains and accumulates for the next experiencer. This trash accumulates until it fills the space and then the piece resets itself. Mimicking theories of the Earth's immune system kicking in and rebuilding damage caused by humans.