Inkyo Back
ChromoIllusion No.5 and No.6
2012
installation
Gallery Jireh, Heyri, Korea
Simone Decker
White Noise
1999
isolation tape
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also see tomas saraceno’s ‘galaxies forming along filaments, like droplets along the strands of a spider’s web’ from the venice biennale in 2009.
Department of Biological Flow
Ghosts in the Machine (Flight of the Mecha Butterflies)
work-in-process
installation (above: floor plan schematic)
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a proposition unfolding
1. affix mesh screen to paper coveralls to form the contours of a mesh skin suit.
2. arrange 8-foot-high walls of mesh screen, in various lengths, along horizontal, vertical and diagonal vectors around the gallery space.
3. participants who visit the gallery space will receive a mesh skin suit to wear for the duration of their stay.
4. participants move freely through the gallery space, forming ghostly topologies of moiré patterns.
D S NFORMAT ON
Threnody from the Vision Machine
Sean Smith and
Department of Biological Flow
January 12-26, 2012
ArtLAB Gallery, University of Western Ontario
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Cross-section of eyeball, transverse and coronal views
Friedrich Kittler: “Before the end, something is coming to an end. The general digitization of channels and information erases the differences among individual media. Sound and image, voice and text are reduced to surface effects, known to consumers as interface. Sense and the senses turn into eyewash. Their media-produced glamor will survive for an interim as a by-product of strategic programs. Inside the computers themselves everything becomes a number: quantity without image, sound, or voice. And once optical fiber networks turn formerly distinct data flows into a standardized series of digitized numbers, any medium can be translated into any other. With numbers, everything goes. Modulation, transformation, synchronization; delay, storage, transposition; scrambling, scanning, mapping — a total media link on a digital base will erase the very concept of medium. Instead of wiring people and technologies, absolute knowledge will run as an endless loop.”
“The optoelectronic channel in particular will be immune to disturbances that might randomize the pretty bit patterns behind the images and sounds. Immune, that is, to the bomb.”
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Gramophone, Film, Typewriter, Stanford University Press, 1999, p.1.
