/* Eddie Lohmeyer is an Assistant Professor of Visual Rhetoric and Information Design at Clemson University. His research and creative practice explore the histories and aesthetics of digital media through experimental video, animation, and installation. His work has been exhibited nationally and internationally at venues including the Bucknell University Art Galleries, the Milan Machinima Festival, Platform 101 Gallery (Tehran, Iran), and the Fotografisk Center (Copenhagen, Denmark). Through speculative moving-image environments, Lohmeyer investigates the intersections of ecology, media technologies, and posthuman futures. */
/* I create experimental moving-image installations that construct speculative ecosystems where distinctions between human, animal, plant, geological, and technological life begin to dissolve. Working primarily through video, animation, and installation, I draw inspiration from the landscapes of the Appalachian region to imagine posthuman environments shaped by climate change, environmental extraction, and continual ecological transformation. Informed by Eastern philosophies of impermanence and interdependence, these imagined worlds reject narratives of ecological collapse as definitive endings. Instead, they consider how new forms of life, perception, and coexistence might emerge through mutation, adaptation, and the dissolution of conventional boundaries between organisms, technologies, and landscapes.
My practice is equally grounded in the material histories of media. I combine drone cinematography, photogrammetry, archival video, neural network, glitch processes, and obsolete imaging technologies to create works that occupy an uncertain space between documentation and hallucination. Rather than functioning simply as production tools, these media become collaborators whose failures, artifacts, and distortions reveal the instability of both images and systems of knowledge. By embracing error as a generative condition, I use experimental media to construct speculative ecological worlds that decenter the human and imagine alternative relationships between technology, environment, and living systems. Through these immersive environments, I invite viewers to inhabit futures where ecological transformation is understood as an ongoing process of emergence, reciprocity, and becoming.*/
/* Throughout the 1990s, artists experimented with game engine technologies to disrupt our habitual relationships to video games. They hacked, glitched, and dismantled popular first-person shooters such as Doom (1993) and Quake (1996) to engage players in new kinds of embodied activity. In Unstable Aesthetics: Game Engines and the Strangeness of Modding, Eddie Lohmeyer investigates historical episodes of art modding practices-the alteration of a game system's existing code or hardware to generate abstract spaces-situated around a recent archaeology of the game engine: software for rendering two and three-dimensional gameworlds. */
/* The contemporary artists highlighted throughout this book-Cory Arcangel, JODI, Julian Oliver, Krista Hoefle, and Brent Watanabe, among others –- were attracted to the architectures of engines because they allowed them to explore vital relationships among abstraction, technology, and the body. Artists employed a range of modding techniques-hacking the ROM chips on Nintendo cartridges to produce experimental video, deconstructing source code to generate psychedelic glitch patterns, and collaging together surreal gameworlds-to intentionally dissect the engine's operations and unveil illusions of movement within algorithmic spaces. Through key moments in game engine history, Lohmeyer formulates a rich phenomenology of video games by focusing on the liminal spaces of interaction among system and body, or rather the strangeness of art modding. */