Transmedia Storytelling and Online Representations -- Issues of Trust on the Internet

Zingerle, Andreas; Kronman, Linda

doi:10.1109/cw.2011.32

Cited by 4 publications

(1 citation statement)

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“…In chapters in edited volumes, articles in peer-reviewed journals, and papers in conference compendiums, the artists situate the project as a form of transmedia storytelling and as relevant to discussions of Internet security and financial crime. 67 When exhibited in a gallery space, details of the deception are arranged into a vintage suitcase said to belong to the fictional artist Heidi Humpfburg (plate 16). It includes an audio timeline of the correspondence, official-looking documents, printouts of various emails (including fabricated hotel and flight reservations), a map of Dakar, postcards of Humpfburg's artworks, and business cards for Galerie Peter Irrthum.…”

Section: Re: Dakar Arts Festival 2010mentioning

confidence: 99%

Financial True Crime: Art, Para‐Journalism, and Data‐Driven Storytelling

Steinberg¹

2021

Art History

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Dear friend, […] My name is Mrs. Viviane Salem, the wife of a lovely husband named Nasim Salem, and the mother of three children […]. Everything was destroyed in a moment, just for oil. Everything faded […]. My lovely husband left me $29.5 million by a financial and security company. I can have this sum only if a partner help me. You can help me by having 30% of the sum after transferring the sum to your own fund. If you believe me […] help me. 2 This autobiographical plea is an excerpt from one of the over 4,000 advance-fee scam emails that Lebanese artists Joana Hadjithomas and Khalil Joreige have collected since 1999. The letter's structure -its coupling of a sorrowful story with the promise of a large monetary payout -is paradigmatic of such criminal correspondences which weaponize a recipient's awareness of contemporaneous conflict (via the global news stream) and situate the reader as the only trustworthy person in a sea of digital addresses.Hadjithomas and Joreige position their collection of scam emails as the evidentiary starting point for their travelling exhibition, I must first apologise… (2014-16). 3 Titled after the contrite salutation common to advance-fee scams, the exhibition is a multimedia installation of interconnected projects. In the show, large reproductions of centuries-old letters trace contemporary confidence tricks to their historical roots in the late sixteenth-century Spanish Prisoner letter (which spins a duplicitous tale about an aristocrat imprisoned in Spain under a false identity) and the eighteenth-century Jerusalem letter (wherein scammers claim to be fleeing the events of the French Revolution; the letter is named for rue de Jerusalem, the street next to the prison holding many con artists). The Rumor of the World (2014; plate 1) is a room-sized installation featuring filmed close-ups of mostly emigrants and refugees living in Lebanon and awkwardly reading advance-fee scam emails for the camera. The Geometry of Space (2014; plate 2) comprises thousands of emails bound into book form, directional marks on the wall, and bronze spheres mapping the scam letters' geographic data points, both their fictitious places of origin and the actual recipients' inboxes. 4 The Trophy Room (2014; plate 3) is filled with information that has been shared in online chatrooms Detail from KairUs (Linda Kronman and Andreas Zingerle), 'Who is Who?', Re: Dakar Arts Festival, 2010 (plate 14).

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Section: Re: Dakar Arts Festival 2010mentioning

confidence: 99%