GHOST LANDSCAPES

Ghost Landscapes Oil on linen Oil on linen 23 x 40 cm 2019

Ghost Landscapes was triggered by thinking about digital images of landscape - recorded images of real landscapes and computer generated virtual landscapes. Given that landscape is the foundation of our lived real-world environment, does the presentation of landscape on a screen mediate our experience of our real-world environment? For example, I am thinking about GPS assisted graphics on screens, such as embedded screens in a car, or a mobile phone. Being told where to go using screen-based guidance systems [often augmented with audible instructions] reduces the need to fully orient oneself within the environment. By this I mean, looking out a car window or looking up from a phone to identify topographical or built environment cues to assist in getting from one place to another. 

Ghost Landscapes was also inspired by thinking about the increasing habit of using screen-based technology to 'entertain' ourselves while travelling as a passenger. If not 'entertaining' ourselves, we continue to work - email, write or examine reports etc. These diversions also reduce real-world interactions with landscape. Simply looking out the window, except momentarily, is a rarity. 

Ghost Landscapes was also inspired by thinking about targeting and surveillance imaging technology, for example, used on an airborne militarised drone. Viewed through targeting and surveillance devices landscape is preemptively positioned as a site of potential mal-intent, misdemeanor, battle, death-in-waiting and/or necro-site. Overlays of computer graphics, such as orienting and targeting graphics, change landscape with occupying intentions and forces most of us are unaware of. 

So, why give this new painting the title Ghost Landscapes? If landscape is occupied, but this goes unnoticed by over-entertained or over-worked people, does this represent a death of landscape? If screen-based representations of landscape become proxy environments, what happens to considerations of real-world landscape as a foundation for environment? Does increasingly persistent surveillance render real-world landscape a place of hostage? If surveillance leads to targeting to sell or targeting to kill, how can landscape provide places of refuge and safety? 

Landscape is falling away from us...........................................

And, as we fall too, there is more to say ..................................

Maybe the ghosts will catch us?

Cheers,

Kathryn

* Please check out my Small Paintings for the Festive Season  

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SCOPING NEW SKIES

Scoping New Skies Gouache and watercolour on paper 30 x 42 cm 2016

THE SKY FALLS

Ubiquitous and persistent surveillance via visual and data monitoring creates a new layer of 'reality' whether we are consciously aware of it or not. Most people, however, are aware, albeit in varying degrees. People in Yemen, Northern Pakistan and Afghanistan are aware in an extreme way as they experience remotely piloted airborne drones that hover above their homes and territories. These drones provide surveillance, reconnaissance and intelligence to other, mostly western authorities, in the name of activities such as counter-insurgency operations. These drones can also target and attack. In a way the sky falls in! 

People in the west are monitored and surveilled via their use of digital devices, their movements across the world caught on surveillance cameras, their cars tracked by GPS devices and so on. Perhaps, rather than a new sky it is a whole new world? If it a whole new world, it will have a sky of sorts...? But, maybe this new sky acts like a blanket, a mechanism of suffocation. After all virtual reality gives the impression of 3 dimensions, but this is an algorithmic instruction. Maybe the 'sky' really has fallen - into the reduction that lies between zeros and ones? Here it is sobering to think about a statement made in 1994 by cultural critic Paul Virilio, in an interview with visual artist Louise Wilson. 

These new technologies try to make virtual reality more powerful than actual reality, which is the true accident. The day when virtual reality becomes more powerful than reality will be the day of the big accident.(1)   

SCOPING NEW SKIES

Scoping New Skies plays with all the thoughts expressed in the above paragraphs and more. 

In the painting, the drone scopes using co-ordinates, multiple electro-optical and data collection devices. It is also equipped with Hellfire and guided missiles. The tree-of-life sits atop a planet, maybe Earth? The tree's roots seem protected by the arced dome-like shape of the planet, but...maybe its actually more interesting than that? Maybe the dome is a kind of cosmic protector - one that the drone's surveillance systems cannot penetrate or even detect? The cosmic sky is a reminder that there is a universal space beyond the drone-space, and the orbits of GPS and communications satellites currently used to support a drone's operation. 

And, there's more...

But, I'll leave it to you now!

1. Paul Virilio. Interview with Louise Wilson "Cyberwar, God and Television: Interview with Paul Virilio", C Theory, December 1, 1994.  

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Please check out another 'sky' post and painting NEW SKY 

Plus COMBAT PROVEN, LONG-RANGE and LONG-DWELL

And 

Please check out my last post A VISIT TO THE AUSTRALIAN WAR MEMORIAL 

Cheers,

Kathryn

NOT A GAME

Not a Game Gouache and watercolour on paper 56 x 75.6 cm 2016

In Not a Game I have painted a colourful Reaper drone armed with four hellfire missiles and two guided missiles. Its wide area surveillance system is monitoring and recording the terrain. The footage it collects is relayed to other monitoring devices and sensors. A cityscape, a country homestead, and a drone's ground control station and satellite antenna are dotted along this terrain. The satellite antenna is connected to the communication satellite, a geostationary satellite parked at near 40,000 km above the Earth . The orbiting GPS satellite is connected to the drone, tracking it and enabling remote piloting. The need for connectivity to operate a drone is apparent. Connectivity, though, also enables the collection of data from our personal and public digital devices. These cyber pathways are invisible, pervasive and ubiquitous. It is not a game. 

A tree-of-life on the far right monitors the entire scenario. The cosmic landscape, in which the tree is situated, indicates a prevailing cosmological perspective - if attention is paid to it.

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Remote Control (below) completed earlier this year, also depicts the connectivity currently needed to operate a drone and its various payloads.

Remote Control Gouache on paper 30 x 42 cm 2016 

Cheers,

Kathryn