Ugly Duckling Presse

An Interface For a Fractal Landscape

Ed Steck

Poetry
Fall 2018
Forthcoming
An Interface for a Fractal Landscape is an exploration of potential networking between organic life and digitally recreated nature on a virtual terrain. Taking its cues from a variety of media, including concrete poetry, artists' books, science fiction, nature poetry, and information science, the book follows the experience of an inorganic life form attempting to recreate an organic relationship between organism and landscape on an outmoded server in the era of post-anthropocene collapse. Features: slime molds, cat avatars, organic toads, digital nature, hollow mountains, water textures, archival crawler units, warm baths, interactive maps, inventory management, and poetry.

About the Author

Ed Steck
Ed Steck is the author of The Garden: Synthetic Environment for Analysis and Simulation (Ugly Duckling Presse), The Rose (with Adam Marnie, Hassla), sleep as information/the fountain is a water feature (COR&P), Far Rainbow (Make Now Books), DoorGraphicDataRecovery (orworse press), A Time Stream in Spaces: The Cultic Parody of Time-Induced Capital (West), and The Necro-Luminescence of Pink Mist (Skeleton Man Press). His work has been exhibited nationally and internationally, most recently at the Los Angeles Museum of Contemporary Art. He is the editor of Theme Can, an online art and writing publication. He is a recipient of two Fund for Poetry Grants, the Artist Opportunity Grant from the Greater Pittsburgh Arts Council, and an Investing in Professional Artists Grant from the Pittsburgh Foundation. He lives in Tampa, FL.

Advance Praise

Nature itself is present in Ed Steck's An Interface for a Fractal Landscape in something like the way a piece of actual newspaper shows up in a collage by Juan Gris.—Aram Saroyan
An Interface for a Fractal Landscape is the catalogue of a virtual Genesis, an artifact from the future, a technical manual for the post-organic. Endlessly fascinating, utterly unique.—Tom Sweterlitsch
[Praise for previous work]

Reading The Necro-Luminescence of Pink Mist is a convulsive experience. Ed Steck seizes cherry tree blossoms, a swimming pool, and an apricot and creates a frenzied, kaleidoscopic film that disappears as quickly as it appears in a mystifying pink mist. I’m reminded of Marguerite Duras’ screenplay Hiroshima, Mon Amour and how I can’t separate her written directions from the debris-covered bodies in the film. Because representation annihilates meaning. Steck writes, 'I want to become the intersection of reality and fantasy. I am concrete as I enter a fantasy of you' and I understand why images rule narrative. I think some art historian should adopt necro-luminescence as a term to describe successful immersive installations—-so totalizing is the concept Steck has invented.
—Monica McClure