Unless you were willing to let the system auto-pilot you on an established – but long and winding route – you were better off just hoofing it or using fast travel, the latter usually a telltale sign that your open world has failed. It may have more to do with its environments, but my memories of traversing Velen and Novigrad mostly involved Roach getting caught in trees or coming at a standstill over a rocky incline. I have my fair share of issues with CD Projekt Red’s overrated RPG (don’t get me started on the combat) but riding around in that game was a pain. Reboot, refresh, and bloom.Take The Witcher 3’s Roach. In the stream of things we lie dormant, not locked down.
#RISE OF INDUSTRY TORRENT TORRENT#
Torrent Blossom invites us to look deeper through the digital silt. Its habit for springing out of dark, murky waters seems apt – in our prism of captivity, it is an emblem of emergence. These are enveloped in a visual identity developed by Jenna Lee, who has featured the water lily (Nymphaea violacea) that grows in the billabongs of her native Larrakia country. Sentences and paragraphs are presented as visual bridges – spanning rivers of time, buttressing and collapsing forms, or spiralling like a jetty, like rhetoric. Megan Cope and Amala Groom interrogate and subvert Western rituals in search of meaning: in The Union (2019), Groom inhabits ‘the bride’ as a locus through which she reconciles and deepens her connection to the ontological oppositions of First Peoples experience whereas Cope’s satirical sacrament – The Blaktism (2014) – reveals the insult and absurdity of assimilation.įinally, Hannah Brontë and Dean Cross forge a path from a not-too-distant past to a near and hopeful future: in Cross’s new work Pauline (a portrait) (2020), a disembodied torrent of hate speech rises and recedes over found footage of a rising, raging river while the all-Blak femme cast members of Brontë’s Still I Rise (2016) – a speculative imagining of Blak futurism and sovereignty – embody the proud and defiant swagger of the namesake manifesto in whose spirit they dance… and rise.Īlongside each work are newly commissioned texts by writers Susie Anderson and Jazz Money, whose critical and poetic perspectives expand on the new and existing contexts that shape and inform decolonial enquiry. S.J Norman and Rachel O’Reilly’s perspectives on industry offer poetry in lieu of destruction: in O’Reilly’s Drawing Rights (2018), her layered narration of the historical and philosophical machinations of extractive capitalism on stolen land simultaneously reveals its profane and erasing sweep while the subterfuge of S.J Norman’s Duet (2013) gently disrupts a central archetype of the Australian pastoral psyche.
Like the tributaries of a river, each artist reflects on different currents.
The tide-like and torrential force of this imagery is countered by the delicate and ephemeral beauty of the blossom: regenerative, fragile, fleeting.
#RISE OF INDUSTRY TORRENT DOWNLOAD#
It also encompasses ‘torrenting’: the organised, often clandestine download and distribution of data – piracy and its loot. A torrent – of water, of emotion, of abuse – is a sudden and uncontrollable stream.
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