But I do have experience in thinking about the ways in which new technologies might allow us to tell stories differently - and how emerging literacies and expressive tools might affect the kinds of stories we want to engage and for how long and where. In spite of - because of - my doctoral training in social and political thought. I direct an art/science lab - I guess we now call it a STEAM or tinquiry lab - and my path to the field of electronic literature work is circuitous.
I hope that some of the future fictions whose contours I see, if imperfectly, and some of the works I’d like to show along the way might resonate with some of your own ideas and practices and possible futures. Here I look back, both through my own work and formation, and through the trends I’ve observed in our field, both as a maker and as a theorist, in order to engage in some speculation as to what might be next. doi:10.20415/hyp/017.e01įor twenty years my research and creative practice have been in the area of electronic literatures, broadly conceived.
“Future Fiction Storytelling Machines.” Hyperrhiz: New Media Cultures, no. The Independence Avenue lobby will reopen in early 2022, and the murals will be reinstalled in their original locations, ready to welcome visitors and serve once again as an iconic background in millions of photos.Hyperrhiz 17 Future Fiction Storytelling Machines Caitlin FisherĬitation: Fisher, Caitlin. Once a piece of mural is removed from the wall, the back is cleared of any remaining adhesive residue, and the mural sections are re-rolled in a face-out orientation, which is less stressful to the paint. As the pieces came down, the workers rolled them onto a tube, face-in.
“The crews have a scaffolding tower,” he says, “and they start at the top and work their way down.” They used spatulas and blades to separate the linen from an adhesive that held it to the wall. “They were removed in 10-foot widths,” says conservation head Malcolm Collum. The lobby murals remained in place for nearly 45 years they were taken down in late 2019, over a period of weeks. And that was my experience with him on the mural.” “NASA admired his work because they never had to worry about the accuracy he knew his subjects really well. “During his breaks from painting the mural, he would play an accordion for his assistant.” And McCall had worked under Dean as a NASA artist “I can’t think of a part of the space program that he didn’t get involved in,” says Dean. “Sloane had written and illustrated several books about the weather and flying, so he was a natural choice to paint the aviation side,” says Dean. The preliminary sketches submitted to the Museum by each artist were then marked off in one-inch squares, “so could really track the whole thing across the giant walls from the mockups they’d done in small-scale,” says Dean. “I hired wallpaper hangers to put the material up on the wall,” says Dean.Īfter the linen was coated with gesso (a primer), the artists’ assistants marked off the mural areas in one-foot squares. “I knew they would be used to painting on something like canvas rather than drywall,” says James Dean, who was curator of art at the Museum when the Mall location opened in 1976. Their murals are immense: A Cosmic View, for instance, measures 75 feet tall by nearly 59 feet wide. The artists were Robert McCall ( Space Mural: A Cosmic View), and Eric Sloane ( Earth Flight Environment). (Much of the Museum will remain open during construction.) The murals weren’t painted directly onto the Museum’s walls, but onto Belgian linen bonded to the wall’s surface-something that came in handy just recently, when the massive artworks were removed and placed in storage while the Museum undergoes a multi-year restoration. The intense curiosity was sparked, in part, by two artists, each working high on scaffolding, painting murals of gigantic proportions. each day, and allow visitors to approach a temporary barrier within the Museum lobby and look around. He would open the Independence Avenue doors from 10 a.m. And even though the Smithsonian’s new National Air and Space Museum wouldn’t officially open until July 1, former astronaut and Museum director Michael Collins made a decision. Crowds filled the sidewalk in January 1976, peering through the building’s glass walls and doors in hopes of glimpsing the treasures within.
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