In Chapter 3 I also explore media arts practice that draws its surrounding as a dynamic and evolving environment, which is something in which to actively engage with and intervene. Such an awareness is created through the artistic and tactical employment of the “new sensitivities” (Latour 2013). By doing this, I aim to support my argument for the vital contribution that a situated awareness offers to the discussion of a poetics of responsibility from a media arts perspective. I analyse these examples according to the sense of situated awareness that they create. I am interested here in media arts practices that combine technology and sensory perception, in order to extend, refine or simply shift human sensory perception. This discussion includes the audio/video installation My City is a Hungry Ghost, the video project Nature in the Dark, and the sound installation planet ocean.
In the third Chapter Sharing Space Sonically in an Extremophile Age I discuss selected examples of media practices and work by tactical media artists, including my own unrelated related series. Contributors include Amy Balkin, Ursula Biemann, Amanda Boetzkes, Lindsay Bremner, Joshua Clover & Juliana Spahr, Heather Davis, Sara Dean, Elizabeth Ellsworth & Jamie Kruse (smudge studio), Irmgard Emmelhainz, Anselm Franke, Peter Galison, Fabien Giraud & Ida Soulard, Laurent Gutierrez & Valérie Portefaix (MAP Office), Terike Haapoja & Laura Gustafsson, Laura Hall, Ilana Halperin, Donna Haraway & Martha Kenney, Ho Tzu Nyen, Bruno Latour, Jeffrey Malecki, Mary Mattingly, Mixrice (Cho Jieun & Yang Chulmo), Natasha Myers, Jean-Luc Nancy & John Paul Ricco, Vincent Normand, Richard Pell & Emily Kutil, Tomás Saraceno, Sasha Engelmann & Bronislaw Szerszynski, Ada Smailbegovic, Karolina Sobecka, Zoe Todd, Richard Streitmatter-Tran & Vi Le, Anna-Sophie Springer, Sylvère Lotringer, Peter Sloterdijk, Etienne Turpin, Pinar Yoldas, and Una Chaudhuri, Fritz Ertl, Oliver Kellhammer & Marina Zurkow. In Survival mode, they are the heaviest rifle ammo in the game at five shots per unit of weight, in contrast to the Gauss rifle's 7.8.Taking as its premise that the proposed geologic epoch of the Anthropocene is necessarily an aesthetic event, this book explores the relationship between contemporary art and knowledge production in an era of ecological crisis, with contributions from artists, curators, theorists and activists. This agent will have a large number of railway spikes in his inventory.
It is incorrectly labeled as "Railroad spike" in eyebot pod's terminal options.Can be found by the eyebot pod in the Commonwealth.Spikes are automatically added to the inventory if the player is shot at by an enemy using them as ammo.Spikes used by the player character may be looted from dead enemies provided they didn't remove a limb.Over a hundred spikes can be purchased from Proctor Teagan aboard the Prydwen.About a dozen can be purchased from Myrna or Percy at Diamond City Surplus.A small number are sold by Arturo Rodriguez at Commonwealth Weaponry.Daisy sells a few at Daisy's Discounts in Goodneighbor.
They are present even before the railway rifle spawns at level 20. Bedford Station - Two batches of 4 spikes can be found nearby in a blue railway car, which also houses a railway rifle.Big John's Salvage - One batch of 4 spikes can be found in the bunker, where a railway rifle is found.
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