The words of the song “Strange Fruit” were originally penned in 1936 under the name Lewis Allan by Bronx schoolteacher Abel Meeropol in reaction to a photograph of the 1930 lynching of Thomas Shipp and Abram Smith in Marion, Indiana.

I don’t think I’ll ever be able to listen to Billie Holiday’s memorable rendition of Strange Fruit the same again after viewing this photograph, which is part of the point of Piotr Szyhalski’s Labor Camp Orchestra, including its “cover” of Strange Fruit – to make visceral the Iraq war. To take us beyond the blaring headlines, patriotic jingoism, and national security fervor to a place that is literally unforgettable.

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A highlight of the final days of Ars Electronica was Rider Spoke, a project by the UK-based collective Blast Theory. Mixing interactive media, installation, live performance, gaming and digital broadcasting, Blast Theory is perhaps best known for Kidnap, in which the winners of a lottery were abducted and held in a secret location for 48 hours. Rider Spoke extends the idea of the group’s search games Can You See Me Now? and Uncle Roy All Around You by asking each participant to ride a bicycle throughout a city after dark, with earphones and a handheld computer mounted on the handlebars.

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“‘We found that by putting art in unusual places, the general public were more likely to come and have a look – they weren’t as threatened as they can be by the White Cube Gallery space,’ says Illuminate’s co-founder Caroline Jones. ‘Then we went one step further and thought: Why not take the artwork straight out there to the public?’”

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