Prozac. Fluoxetine. A name that speaks
different things, depending on who you ask. To some, it turns sad,
but otherwise normal people into zombies, or worse still, some sort
of drug addict. To others, they are a symbol of individual weakness;
an inability to cope with the vagaries of life. If you were to ask
yet another group, you might be told that they helped restore some
degree of order to a completely fragmented psyche. A chance at a new
All of that is spelt out on the simple,
almost plain packets with that name emblazoned on them. Even more is
spoken on the information sheets that are within each packet
alongside a drug which it’s extremely likely that you, or someone
who you know or love, will be all too familiar with. I certainly am.
That’s the motivation for this piece, to give an artistic dimension to the name. The idea first came to me after a first course of antidepressants back in 2009, which allowed me to feel something close to “normal.”
From there on in, I collected each pack of Fluoxetine I had been prescribed, with a view to turning my consumption of them into something creative. To make some sort of order out of the past few years, and to bring the viewer’s eye closer to a pill that has been, and continues to be a key part of my experience of life.
In each case, a clinical looking background, has been chosen to allow the subject to be stripped of any and all context, leaving only geometry, text, colour and shadow. A time-lapse video made from selected footage of the shoot can be found at https://vimeo.com/273077081.
Related to the f̮lo͏̲̰͔̮w̴͚̼͚e͎̜̻̭ŕ͖͓̭̩̱̙̘ piece, these images are here for completeness. The left is a HDR image from a set of photos taken as a study, whereas the right is the full, uncropped image as featured in f̮lo͏̲̰͔̮w̴͚̼͚e͎̜̻̭ŕ͖͓̭̩̱̙̘.
Tracks done for the ‽ vol. 2 release. The premise of the ‽ series is (from the description for ‽ vol. 1):
“This album is an exercise in chance and randomization. First, all participating artists composed any number of 10-second (or less) sound clips. These stems were then amassed and sent back to the musicians so that all of the sound clips were available to every artist taking part. Then, the musicians rearranged, manipulated and combined any number of these stems to form their final mix. In this way, each song on this album is an amalgamation of original clips from various artists and the fine-tuning of a single person. No one knew who composed their initial material and the final submissions were also anonymous. The result is ‽.“
I guess by that token, I probably shouldn’t stick these tracks here…..
You can listen to the other tracks on, and download this intense release here.
I did the background for this one, Ibn Batuta (over at Dreak) did the text. This was a fairly simple data-bend using Audacity and some secondary filters to make the end result look even more messed-up.
This one was for “Rotten Fish Head,” one of the last Digital Vomit releases to come out, broadly themed around data corruption. It was also the first release from Dreak.
Here, a sample set composed of the sounds of mechanical hard drives (thanks Ibn!) and some sounds generated from loading images into Audacity, as part of a flirtation with databending were used. Here’s hoping the “out of control/corrupted” aspect comes through nicely.
As always, a download is available (as well as the rest of the Album) over at archive.org
I also contributed album art (the back cover background) to this release. You can see it here.