Nonsense Lab
Heather LewisPay-per-view2011(with coin in the meter)

Heather Lewis
Pay-per-view
2011
(with coin in the meter)

Robert SmithsonFour-Sided Vortex1965stainless steel, 4 mirrors35” x 28” x 28”

Robert Smithson
Four-Sided Vortex
1965
stainless steel, 4 mirrors
35” x 28” x 28”

Bohyun Yoon
Fragmentation
2004

TRANSPARENT MIRROR, patent application by M.C. Frey, 1915:

"In carrying out the invention, I take a glass plate and cover one side with the usual silvering and backing; and then by graving, etching or in any other suitable way, remove a part of the silvering, preferably in a serles of close parallel lines, either running in one direction or crossed in the form of a screen or the silvering may be removed by a series of dots resembling those formed by a half tone screen, except that the dots should be rectangular instead of round to give the best results and that the aggregate silvered area shall exceed the aggregate removed or transparent area."

TRANSPARENT MIRROR, patent application by M.C. Frey, 1915:

"In carrying out the invention, I take a glass plate and cover one side with the usual silvering and backing; and then by graving, etching or in any other suitable way, remove a part of the silvering, preferably in a serles of close parallel lines, either running in one direction or crossed in the form of a screen or the silvering may be removed by a series of dots resembling those formed by a half tone screen, except that the dots should be rectangular instead of round to give the best results and that the aggregate silvered area shall exceed the aggregate removed or transparent area."

Hans BrederBody Sculpture1972

Hans Breder
Body Sculpture
1972

Department of Biological FlowReflexive Mottleanimation processin progress

i=186

Department of Biological Flow
Reflexive Mottle
animation process
in progress

i=186

Department of Biological Flow
Reflexive Mottle
animation process
in progress

i=82 and i=136

Department of Biological Flow
Reflexive Mottle
animation process
in progress

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detail:
node zoom —> skin and eyes, 200%

Cindy Shermanfrom the Art21 short filmMannequins & Masks

- - -

"Today we are all ‘creators’, all able to see ourselves extended into the data networks of the ludic-virtual. In other words, all complicit in the creation of a new mirror — a slightly kaleidoscopic mirror, mind you — but one that captivates us like Narcissus long beyond that mirror phase of childhood. Like the two-way sort used in clinical psychology, however, this new era of the interactive is at once mirror and screen, at once opportunity for enclosed self-contemplation and open performance. For we all know what lurks behind the silvering of this new mirror in the Facebook Polis and that is the gaze: sometimes manifest as benevolent glance and sometimes as cold, clinical, unblinking stare. Always performance.

Narcissus never suspected that Echo was swimming below the surface of the pool, but we know better.

This blur between mirror and screen is perhaps best understood in the language used to describe it: ‘one-way mirror’, ‘two-way mirror’, ‘one-way glass’ and ‘two-way glass’ are all used interchangeably, two sets of complete opposites in recombination to express the same concept. The fragmented subject only finds confusion in its attempts to articulate its relation to the interface; even with this 2x2 matrix the concept eludes us. Political action in the Facebook Polis must consider both the material element of this membrane between gesture and vision as well as its relative opacity in approaching the speed of light — the panoptic space is obsolesced by our very reflection.”

— from “The Facebook Polis”

Cindy Sherman
from the Art21 short film
Mannequins & Masks

- - -

"Today we are all ‘creators’, all able to see ourselves extended into the data networks of the ludic-virtual. In other words, all complicit in the creation of a new mirror — a slightly kaleidoscopic mirror, mind you — but one that captivates us like Narcissus long beyond that mirror phase of childhood. Like the two-way sort used in clinical psychology, however, this new era of the interactive is at once mirror and screen, at once opportunity for enclosed self-contemplation and open performance. For we all know what lurks behind the silvering of this new mirror in the Facebook Polis and that is the gaze: sometimes manifest as benevolent glance and sometimes as cold, clinical, unblinking stare. Always performance.

Narcissus never suspected that Echo was swimming below the surface of the pool, but we know better.

This blur between mirror and screen is perhaps best understood in the language used to describe it: ‘one-way mirror’, ‘two-way mirror’, ‘one-way glass’ and ‘two-way glass’ are all used interchangeably, two sets of complete opposites in recombination to express the same concept. The fragmented subject only finds confusion in its attempts to articulate its relation to the interface; even with this 2x2 matrix the concept eludes us. Political action in the Facebook Polis must consider both the material element of this membrane between gesture and vision as well as its relative opacity in approaching the speed of light — the panoptic space is obsolesced by our very reflection.”

— from “The Facebook Polis”

Yayoi KusamaFireflies on the Water2002mirror, plexiglass, 150 lights and water281.9 × 367 × 367 cm

Yayoi Kusama
Fireflies on the Water
2002
mirror, plexiglass, 150 lights and water
281.9 × 367 × 367 cm