These eight miniatures are conceived as independent yet interconnected scenes. While maintaining a linear narrative, they can be experienced in various sequences. They function as explorations of the potential of abstract narrative through audiovisual counterpoint and the fragmentation of storytelling, which unfolds simultaneously on formal, technical, and aesthetic levels.
This approach gives the narrative a multifaceted character, where fragmentation occurs not only temporally but also in modes of expression. Often, the narrative is implicit in the very techniques employed, such as morphing, photogrammetry, scanline synthesis, and chaotic generators.
Following the narrative of un_i[n]verso, the journey begins in distant, digital, and undefined landscapes, and gradually leads to the emergence of destroyed digital architectures. What initially appears unknown slowly reveals itself as something more identifiable, allowing us to trace a narrative line, from aerial views where faint traces mark the ground, to cracks in concrete that draw us into a more confined and recognizable space.
This progression reaches a meta-level resonant with Hans Blumenberg’s concept of the “shipwreck with spectator,” reflecting humanity’s attitude toward life and history, the tension between the need for security and the appetite for risk, detachment and involvement, contemplation and action. Ultimately, the viewer becomes shipwrecked, embodying the spectator.