The “dark wood” has been used for centuries to represent a place of mystery and danger. In old German fairy tales the forest is where the monsters dwell. In some epic poems, the forest is an unintelligible will that acts in the interest of no party, seemingly contradicting the desires of those who wander in or take it for granted. While yet in other literary works, the forest is a stand-in for the sphinx, offering a hero their chance at glory should they prove worthy. Like in Waiting for Godot, in interacting with virtuality we replay the same simulation, without recollection, harboring inextinguishable hope for salvation. Beckett’s Vladimir and Estragon cannot affect anything, they can’t even die. There is nothing to be done but to observe the transformation and attempt to comprehend it.
The “dark wood” has been used for centuries to represent a place of mystery and danger. Crocodile Power often refers to the allegory of the dark forest as cyberspace in their works. The practice of the art-duo is rooted in an examination of the impalpable sense of uncertainty and loss of self, a reckoning with the erosion of purpose that defines the contemporary human condition in the age of virtuality.