1. unlisted (2019) explores the indeterminate spaces of online existence. the work begins with the pdf document titled satya.pdf housed in the final projects folder of the film and video art (fall 2019) folder, a folder which exists somewhere under the new school for social research’s drive account (which they must pay a lot of money for) that google manages which means the data is stored in a center for servers the closest one is in loudoun county virginina, on the website https://www.google.com/about/datacenters/locations/loudoun-county/, google writes ‘Google is proud to call Virginia home to one of our data centers. In 2018, we announced plans to construct a data center complex in Loudoun County, Virginia. We announced the expansion of the facility in 2019, bringing our total investment to $1.2 billion and establishing a long-term commitment to the region and state. Once fully operational, our data center will employ a number of people in a variety of full-time and contractor roles, including computer technicians, engineers, and various food services, maintenance, and security roles.’ i wonder how much they paid the copywriter who wrote that for them, i wonder what type of ___bytes 1.2 billion dollars buys you but anyways that’s where the pdf is (probably).

2. the pdf doesn’t say much, you can click the back arrow if you want to see it again, it says ‘click here’ and when you click it redirects you here to satyasai.xyz/unlisted, an unlisted page on the squarespace site i rent to serve as a portfolio. i pay month to month because i only really keep it up when i’m applying for jobs and internships which means the link in the pdf won’t always go somewhere. from what i can tell, squarespace runs their own data centers but isn’t as open about the information as google is. the webpage contains the default header to my site w/ links to various sections. if i could remove it i would but this is squarespace, it’s not especially customizable, and my html skills peaked in 6th grade so that’s not happening. there’s a notice below that to use a desktop to view the page. this is mainly because the videos are 360 degree videos and can’t be viewed properly on smartphones without download apps first. it seemed like a lot of work to get everyone to download an app to watch a version of a video they’ve already seen so i didn’t want to do that, but you’re welcome to come here on your phone and try if you want. i also like the mouse controls on the 360 video and that you can change speed and resolution. it’s meant to be interactive.

3. the three embedded videos are also unlisted videos, hosted on youtube with my account thechiefs25 i made it probably in 2008 so i would’ve been 10 jamaal charles was a running back on the kansas city chiefs and i was really big into football at the time so that was the name most of the videos i’ve uploaded with the account are unlisted, it’s an interesting place for them to exist in, where if people have the link to them, they can find them, and if not they’ll just sit on another server waiting to be accessed. youtube is a google subsidiary but i’m not sure where the videos would be housed. these ones probably in the virginia one, because i uploaded them in nyc, but the older ones are probably in servers on the west coast.

4. the videos are pieces previously screened in the film and video art class associated with the folder. there’s ‘plastics’, ‘empty moments’ and ‘rain in england’. in the case of ‘plastics’, the images were multiplied, but otherwise i used a ‘spatial media metadata injector’, a software i downloaded from github, a subsidiary of microsoft, to make youtube view them as 360 degree videos. they’re probably best when viewed fullscreen and you use the mouse to click and drag around the page. if you click drag and release in a smooth motion, you can spin the view for a short moment.

5. the piece is intended to emphasize the amount of corporate entities necessary to even present it to you. to make the work in the videos, corporations provided the manufacture of the cameras used to make the images, corporations provided the servers to host found images and sounds integrated into the works, corporations provided the software to edit and render the data captured by the camera into coherent images, corporations provided the chemicals necessary to make and process super 8 footage, corporations provided the cctv system that i taped with my iphone, corporations helped make and distribute terrence malick’s the tree of life, and while lil b made rain in england by himself and distributed it via indie label weird forest and then waiting 2 months to upload it to datpiff i’m sure he still used corporate tools to make it.

6. this text is part of the piece and not actually the artist statement. the artist statement is housed in a pdf in a different folder within the film and video art folder. i haven’t written it yet but this is not it.

7. because the piece is the pdf, i can always change this piece. maybe i’ll write that into the artist statement, i probably should if i want it to be a rule

8. this isn’t a list of rules. this isn’t a list, these aren’t rules, and the numbers only exist to give the illusion that this leads to something. they’re just words that are part of the piece. unless the statement says i can lie. but what if the statement doesn’t exist. then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? then what? 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12. see below

satya.pdf, pdf document, 2019