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Some thoughts so far ...

The initial theme for this project were not thought of as a formal space for didactic social inquiry, but more as a space of metaphor in which these two commodities of value, oil and water, become structural and symbolic (in a linguistic sense) providing a framework within which to suspend narrative and action of uncommon variety, reflective of ideas and scenarios more expressive and cinematic, than scientistic or rationally contextual. The intention here is to explore complexity in the dynamics of social interrelations in ways, more literary in a cinematic sense, than textual in the sense of critical gestures of political action. So, the thought is perhaps to avoid developing work authored to directly critique existing systems, be it narrowly focused to the space(s) of computer gaming or generally focused social research regarding corporate power and established politics of environmental action ... particularly when that work results in a parody or self- reflective construction employing methods of detournament on existing systems, whether formally parallel in technology or equivalent in iconographic narrative character. These types of motivation might be argued to be regressive in that they don't suggest 'other' ways to envision the situational or communicate simultaneously different readings of complex relationships, social, economic or physical in ways that give opportunity to be non-judgemental in any active sense so that a broad space of constructive variety exists to give rise to a more than less complete reflection through metaphor of the many vectors of potential variety and interest.

The thought here is to break from the formally linguistic spaces of known systems, (whether they are approaches to gaming, to interactive experience, to networked worlds formed from the tools of new media or otherwise narrative spaces of inquiry, story and praxis), but to instead develop a contemplative situation in which fictional relationships, woven into a structural fabric of complexity in which the varying intrigues of a world of experience and action are scripted with synopses in which the primary values of exchange are defined through the material of water and the material of oil. This world being made manifest through stories involving protagonists of some developed character and activity, moving and acting within a world of particular environment, a world as might be in which water for reasons ecological has certain significance, with the details of this world developed in a fictional sense from the different modes of exchange and power that might arise as a consequence of it's certain increased value in a world of specifically altered ecology.

The matter here may then be not to think in terms of what presently is,in any preconceived sense of aesthetic experience, or what might come from an extension of the currently existent ... but what might otherwise be in a dynamic space of fictional character in which multiple layers of interrelations form the framework for scenario, cinema, temporal interactivity and action.