„the entertaining aspect of destruction“, 2016 @ artificial retirement group exhibition, flux factory 19.8.2016August 24th, 2016
the entertaining aspect of destruction, 2016
In this participating performance which involves humans and a machine the main interest is into looking at the entertaining aspects of destruction. Everybody is afraid of having an car crash, but whenever we watch a car race on television, somehow the most interesting end entertaining part happens, when a crash happens. Here in the United states there is even a culture in destroying cars during a race, the so called destruction derby, where the main goal is to be the last car driving on the race course.
There is a remote controlled toy car which is converted to contain color in different containers which will be driven against a wall, while driving thru some painted surface to visualize the path the car drove. The remote control will be passed by to visitors until the car is not able to drive anymore and is completely destroyed. A collective act of destruction.
„dazwischen“ (between) is an autonomous, interactive installation which includes a drawing robot and a visual interpretation system of what happens on the two locations of the exhibition. The installation monitors via facial recognition the positions of visitors and artists in both venues by observing the streams and the real space here in New York and in London. Thinking about that most creative processes occurs in between communications and in between people while communicating, I want to visualize these connections. My theory is that it is not possible to really precisely understand what someone means during an conversation because of the inaccurate and ambiguous character of language itself. So it seems that most „ideas“ develop themselves during this process of misunderstanding and trying of understanding.
The painting robot (a so called polargraph system) consists of two motors, mounted on a wall, which have strings attached to each other which are connected with a color dispensing device. the movement of the motors define the position of the dispenser unit on the wall. While observing the positions of people in space the machine maps this places in a two dimensional space and draws the connection between the last two faces it detects in the multidimensional space. So a network of connections develops itself during the time of the exhibition.
3459 is the first collaboration between RELAPSE Collective and curator Emireth Herrera. The exhibition aims to connect London and New York by using Tom’s Etching Studio and Flux Factory, as such the title references the 3459 mile distance between the two cities.
Since the beginning of the industrial revolution the human, especially the working human, has increasingly adapted to a coexistence with machines. The human has become a prosthesis for the non-organic body of the industrial factory. During early adaptation this occurred mainly on the material body, the hardware of humanity. Simple repetitive movements on the assembly line became the tasks of the workers to fulfill those duties the machine could not.
The promise was that humans of the future will not have to work, machines will lighten the load. However, the importance of ones identity being tied to her/his occupation became increasingly socially relevant.
With the invention of the computer, machines have moved away from hardware towards software; machines began to acquire a brain. In this new epoch, is it possible that human are still a prostheses of the machine? Now not only attached to the body but also an amendment to its thinking? It can seem that with the wish of creating machines that think like humans, we have also created humans that think like machines.