Ohls examines digital ecological artworks within what he calls the exhibitionary internet complex, where immersive simulation, AI, screens, networks and environmental representation are inseparable. The key contribution is to connect virtual exhibition practice with the material and ecological costs of digital infrastructures. His analysis resists the tendency to treat virtuality as immaterial, foregrounding energy use, technological dependency and protocol as constitutive aspects of digital culture. Methodologically, he reads specific works as interfaces between ecological imagination and infrastructural reality, paying attention to their ongoing and generative character. The wider bridge is to environmental media theory: digital ecology names both the representation of environments and the ecology of the technologies through which such environments are produced and circulated. Scale becomes crucial because local visual experience depends on distributed computational systems that extend far beyond the exhibition site.
