Brandon Ngai

• The work of emerging media art that I admire most profoundly is the most recent installment in the Doom franchise, playable on virtual reality platforms. The first Doom game was released in 1993, and is widely known as the first three-dimensional first-person shooter game. The player would find himself alone in a station on mars, battling the undead forces of hell. The central themes and ideas that give the game its character have been carried through several sequels and subsequent installments for decades, and to find that same heavy metal thrill of the first Doom executed so effectively in such a modern platform is marvelous.
• One project that surprised me was Sara Ludy’s “Rooms,” from 2012. The steady, cyclic movement of a few sampled images of a door and some blue wallpaper is surprisingly hypnotic, giving the viewer the feel of movement through kaleidoscopic, impossible spaces.
• I feel as though Addie Wagenknecht’s “Black Hawk Powder” painting series  fell short of what it could have been. The project saw a small drone following simple flight commands, such as “barrel roll,” “take off,” and “land,” in order to create different marks with heat- and UV-sensitive pigments on canvas. As ballsy and original the idea may be, the marks that Wagenknecht’s drone creates look fairly limited to mists of pigment and splatters of pigment. I think that she could have created a much wider, more interesting, and more fun variety of marks had she attempted to get more representational with her images, or diversify the commands the drone would follow.

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