There is always, ever, (endlessly?) a push with the new (media) to do something first… something pristine or virginal in its notional existence as, "new".

My intention here is not to create a new language or vision, but to open and reveal processes behind Imaginary Evidence. It is not about content or packaging. It is, in a way, something else or, at the very least, something about the, “possible”.

This approach emerged from development of Imaginary Evidence itself. Over nearly a decade of development, multiple paths were taken in the production of a CD that would both reveal and leave open to exploration, the work of Forced Entertainment. Methods employed during the development included numerous meetings with the entire company and invited consultants in an attempt to devise methods of building or structuring a digital experience that was analogous to the physical work of the company. Perhaps inevitably, many of those discussions focused on the graphical, the visual, the interface. Discussions often centered on shared experiences of games and televisual media. Many hours were spent exploring tangible connections between interface designs and the work of the company. In the end, neither the interface nor the content was built to literally mirror the working process of the company in a visual sense. What was created was an object whose other spaces- those between the fragmentary video and disembodied texts, led (or alluded) to the working processes of the company.

It is that notion, of the space between (not behind or because of) the interface and content, that led this investigation of Imaginary Evidence to develop in a particular way. With no (or very little) formal graphical interface. It relies upon the conventions of the browser with which you are forced to view the information. It presents you with a series of texts (visual and other) that, taken as a whole, represent a developmental process that is often hidden in the spaces between the development and production of a final, or pristine, object.