Aidan Wall

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Microfiction bookmarks for Schemas of Uncertainty (Danae Io, Callum Copley, eds.). Authored by me and designed by Charlotte Rohde.

Published by PUB & Sandberg Instituut, 2019.

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IMMA After, Rebuilding the Self at Irish Museum of Modern Art, December 2018

Collage workshop with IMMA After where participants discussed the relationship between technology and identity through the lens of IMMA’s Wolfgang Tillman’s exhibition. Prefaced by a gallery tour by Diana Bamimeke. Workshop facilitated by Aidan.

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Repeater Winter Edition Tape & Zine (2018)

Tape and Zine Collaboratively produced by Repeater Collective and friends - Michelle Doyle, Cliona Ni Laoi, Frank Sweeney, Coilin O’Connell, Eva Richardson McCrea, Mel Keane, Dylan Kerr, Dean McGrath, Jennifer Moore, Gareth Smyth, Cáit Fahey, Denis O’Connor, Colm Keady Tabbal, Rachel Lavelle, David Kitt, Aidan Wall, Ivan Pawle, Maria Somerville, Orlando Fitzgerald, Steven Harrington.

My contribution consists of a song on Side A of the tape, and an interview with collages presented in the zine.

Available to stream and purchase at: https://repeaterepeater.bandcamp.com/album/winter-edition-tape-zine

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blusher - tren rezno (2018)

Digital album and 12″ vinyl sampler released by Patrúin. Layout by Mel Keane, featuring collages by Aidan Wall.

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sat so long i became a chair (2018)

Game made using Bitsy. Playable in your browser at: https://aidowall.itch.io/sat-so-long-i-became-a-chair

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Death Has Been Cured (2018)

Role-playing game made for the Critical Studies department at Sanderg Instituut for the event of their trip to Kunstfort bij Vijfhuizen, September 2018.

Players enact a journey from a culture where death has been cured, towards a place where death still exists.

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Sioraí Geimhreidh - Sitting Patiently (2018)

Collage work and layout design for 12″ record by Sioraí Geimhreidh. Produced as a four colour risograph print.

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B0Tanical Garden.exe (2016)

“Science fiction hadn’t quite prepared humanity for how mundane their eradication from the Earth would be. It was a bit like someone closing over a soggy book they’d dropped in the toilet. Woops!”

B0Tanical Garden.exe is a roleplaying game designed for 14 people to play in a single sitting. Each player is a resident of the Botanical Garden, a digital amusement world compiled of human experience, uploaded before the earth’s collapse. Players are asked questions about their digital homes, intersected by short vignettes.

Extract:

His tallness was what she remembered most. How when he would sit down in the low couch, his knees would rest at the height of his chest like two great stilts left standing after the tent’s collapsed.

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(ive been) Lonely Most of My Life (2017)

Group show and symposium with Callum Copley, Philip Coyne , Danae Io, Tom Kemp, Bin Koh, Monica Mays, Naomi Crede at Grace, Athens, July, 2017.

My main contribution to this evening was a guided meditation about chewing and walking. I also designed a tabletop game with Tom Kemp about defining emotions, which went unplayed.

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The Tongue Stirs (2017)

Performance as part of 2 TEXACO - ii, w/ Sophie Serber, Wiebe Bouwsema and George Bruno, at Ivan’s, Oudezijds Achterburgwal, Amsterdam, February 2017

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NO PLINTH (2017)

A collaborative storytelling game about object histories and digital communities.

My goal with this tabletop game project was to evolve a game design methodology wherein the process of designing the game itself was based off a structure of rules I had given myself. The core of the game is based off two parallel and interlocking stories: one which the players are describing and forming (using question cards as prompts to collaboratively describe objects in a room), and another which is formed from non-sequential fiction sections authored by me (which describe who assembled this collection of objects). Another goal of the project was to consider how pronouns and gendered subjectivities might be subverted in the game's fiction as well as in the game's systems. I wanted the game's main character, The Collector, to be gender-ambiguous, referred to always with 'they' pronouns, but I also wanted to figure out how I might queer the playing of the game itself. This involved formulating questions which subtly challenge conventional heteronormative subjectivities: One question card calls for the player to describe a sex toy which was a financial failure but which was championed by a niche audience (thus asking them to consider the privileges of their sexuality and how it might relate to their body's ability).

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The Deathsinger Prepares Her Song (2017)

Photo credit: Nolwenn Salun

Performance on Destiny and Death. 

Video: here.

Extract:

In Destiny my kill:death ratio is fourteen thousand, one hundred and twelve kills to ten thousand, five hundred and thirty deaths (one point three four), and in real life my kill:death ratio is zero kills to zero deaths (infinity). My older sister used to spend quite a lot of time playing World of Warcraft. If we were to compete over who has spent more time with their escapist project it would be a pretty close call and ultimately, neither of us would be winners. With that said, I was always very supportive of the time she spent in Azeroth whenever my parents would worriedly bring it up in her absence.  “Bodily friendship is a 20th century thing, Dad!”

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Doss Souls, 2014

Aidan Wall

Runtime: 5:55 mins

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Documentation of a performance of ‘Power Chord’, a new work completed for Battery at Foundation14, September 2014.

‘Power Chord’ is a 20 minute performance which investigates the parallel machinic functions of friendship and guitars in the New York ‘No Wave’ scene of the late 1970s, and the Norwegian ‘Black Metal’ scene of the early 1990s. By comparing the diametrically opposed chord structures of No Wave's ‘non-chord’ and Black Metal's ‘power-chord’, I attempt to discern how sociability was economised in each case study.

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Doss Souls: A Dossier on Speedruns, Dossing, and Dark Souls 

Essay by Aidan Wall, 2014.

2 Colour, Double-sided A3 risograph print, folded and presented in an A6 tracing-paper envelope.

Purchase here

Extract: 

"... if the epistemology of art is truly changing to fit the sensibilities of the middle class, why isn't any art reflecting the huge (middle class) cultural phenomenon of live-streaming video games over the internet? Game audiences are increasingly becoming more interested in watching others play video games, than playing them themselves. The live-streamers and content producers I am particularly interested in are the speedrunning community. Speedrunning is the act of attempting to complete a videogame as quickly as possible; it's a slow process based on practice and mastery of one’s chosen game. It is the most industrious form of dossing: a repetitious, difficult form of play which borrows unknowingly from Taylorism."

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Slán Abhaile: On the Site Specificity of 'Gone Home' 

Essay by Aidan Wall, 2014

Hand-bound, A5 12 page zine on pale pink paper.

Purchase here

Extract: 

"The feeling while playing the game of almost being the protagonist but not quite, echoes Kaitlin’s feelings of arriving at a different home to the one she left. The term ‘empathy game’ has become a buzzword around independent game development over the past couple of years; this supposed genre could be aligned with Gone Home, but the game’s experience isn't directed towards understanding Kaitlin Greenbriar at all, rather, it offers a husk of a character to inhabit during the game’s progression. Just as Kaitlin does, players invade this extraordinary space, each one a stranger in their own home."

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Installation view of performance site,

National College of Art and Design Graduate Show 2014.