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Slava Ukraini (Слава Україні)

Slava Ukraini is a virtual reality experience created through the use of found sound and video, coupled with animations and a virtual reality design-scape. The piece was inspired by the 2022 Russian invasion of Ukraine and born from the  despair of the Ukrainian diaspora as they witness yet another attempt to decimate Ukraine, her people, her culture, her history and her dignity. This is an archive of personal experience, watching the war from afar through various media on social media platforms.

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About

Slava Ukraini was first created by Jolene Armstrong as a short film, which was subsequently remade for virtual reality through a collaboration with Hendrick deHaan, which first premiered in 2023 as part of a larger collective virtual reality piece, Memory Eternal (by The Decameron Collective) at the Electronic Literature Organization's Media Arts Festival in Coimbra, Portugal. In 2024, Armstrong and deHaan expanded Slava Ukraini with additional components,  making it the stand alone piece accessible here.  

Trigger warning: this piece features live combat audio and video recordings, images of war. Some viewers may find this disturbing.

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How to Access

Slava Ukraini is accessed through a downloadable file.

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The piece runs on an Oculus Quest 2 tethered to a PC desktop or laptop computer from a downloadable file. The computer must have a gaming level graphics card and minimum 16 GB RAM in order to run. (It will not run on a mac.)

1) Download and run the Oculus software: https://oculus.com/setup

2) Download the Slava Ukraini zip file and unzip it: https://drive.google.com/file/d/13Vqa-AqLuWMlTceUi32V1Sn9u875bzOi/view?usp=drive_link

3) Connect the Oculus headset to your PC via a link cable. Select “enable link” (which means that your headset can run off the PC.)

4) Double click on the unzipped "Slava_Ukraini" to run. You will first get a "Made in Unity" loading screen and then the piece will launch. You should be able to see it both on the computer screen and also in the headset.

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Jolene Armstrong

is an Associate Professor of Comparative Literature and English at Athabasca University. She is a member of the Decameron Collective, whose past work includes Decameron 2.0, Memory Eternal, Deformances Unlinked (Spelarne), which have exhibited internationally in Italy, Portugal, Estonia, Japan, the United States, and Canada. As a multimedia artist, Armstrong's  creative and translated work has appeared in Galaxy Brain, Peatsmoke Journal, DeLuge Literary Journal, MacroMicrocosm (Folk Issue), Wildroof Journal, Beyond Words Literary Magazine (Issue 22, 25, 26, 28), The Hunger Mountain Review, The Society for Misfit Stories, The Silk Road Review, and The Antonym. She is particularly interested in the intersection of art and literature and the potential that immersive environments present as storytelling mediums. As part of a daily creative practice, she assembles in images and words the shimmering, sometimes terrifying, ephemeral beauty that marks our collective existence on this blue planet. She lives and works in Amiskwaciy-Wâskahikan, treaty 6 territory (Edmonton) with her two kids and a menagerie of weird pets and projects strewn about her house. www.jolenearmstrong.ca

 

Hendrick deHaan
is a multimedia artist in the Toronto region of Canada. He has led several initiatives including independent music projects, creation of music videos, and building interactive 3D worlds for screens and VR. Hendrick has been a contributing artist to a diverse range of artist collective projects for which he has produced audio and visual pieces, authored computer programs for custom visual and audio effects, and led the design and construction of 3D worlds and implemented the interactive mechanics in these worlds. Most recently he has been collaborating with members of the Decameron Collective on works such as the interactive WebGL piece "Decameron 2.0" and the interactive VR piece "Memory Eternal". Hendrick is also a science professor specializing in computational research.

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Artist Statement

Slava Ukraini is a meditation on the disruption to Ukrainian culture and sovereignty caused by the 2022 full scale Russian invasion.  In this VR experience, traditional embroidery is streamed as the visual focus, while spatialized recordings of battle threaten to disrupt this ancient folk tradition, itself a form of cultural memory and storytelling. The VR experience reorients the typical expectations of immersion characterized by VR headsets as screen-based experiences in which the user has ultimate control. By disrupting VR’s 360-degree field of vision, “Slava Ukraini” appears connected to the viewer’s perspective, ensuring that, regardless of where one looks, the translucent video appears squarely in the immersant’s line of sight—a way to re-assert the flow, the assurance that the stream of Ukrainian tradition will prevail despite the disruption and threat of erasure posed by war. Visually, the remnants of buildings and the vestiges of cultural and ethnographical elements, such as traditional embroidery, displayed on the fixed and suspended video screen, stand in stark contrast to the creator’s personal conception, rooted in an historical framework that is bounded by an earlier fracture with the mother country in the early 20th century; the stream is steeped in folklore and enduring traditions transmitted across generations.

 

While the experience doesn’t literally address water, per se, it works with tradition and cultural practices as a kind of metaphorical stream, an imaginative river that connects generations through time. Time acts as a river that carries the language, values, and traditions through the generations, even though it is sometimes disrupted by threats to its sovereignty, to its ability to continue to flow from one generation to the next, but through the continued practice of traditions in dance, for example, and arts and crafts, such as embroidery, as featured in the video elements of this VR creation, the stream of cultural memory can be preserved and assured of a future, not just in Ukraine, but also throughout her diaspora.   

Acknowledgments

Brock Armstrong: audio processing and creative support

Monique Tschofen: creative and moral support

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