Uncovering
the “hidden mechanisms” behind things and processes – making
it “visible” probably has been one of my largest
passions ever. "...
Perhaps the manic enthusiasm for information, for producing,
packaging, transmitting, and consuming scattered fragments
of a coded world, is partly motivated by an unconscious desire
for a totalizing revelation, an incandescent apocalypse of
knowledge".
(Erik Davis: "TECHGNOSIS", Chapter "Datapocalypse")
The
impact of telecommunication, recording and computing
technologies has almost replaced our natural (direct)
sensual contact with the ‘outside’ world
by mediated ‘ghosts’ of it. The accessible
audiovisual space has now expanded from our ‘naturally
audible and seeable’ surroundings to incomprehensible
distances, scales and depths of physical and imaginary
space. The utopia of ‘visionaries’ centuries
ago is becoming an industrial trend today – to
let the code organize (control) this ‘hidden reality’ in
time and space to the degree that it is becoming almost
a tangible ‘matter’.
Every day avareness of myself being wrapped in a of visible
and invisible reality fabric, every nanonmilimeter
of air is full of chemical reactions, 'cellular radiation',
digital modelling and traces of past processes.
I wanted
to make a work that would condense – in more
radical form – some the basic formal principles common
in my previous works – e.g. ‘self-explaining’ audiovisual ‘internal
language’, mixture of abstract and concrete elements,
spatial paradoxes. The intention was to explore the limits
of audiovisual perception – creating synthetic synesthesic
spatial awareness using advanced illusory techniques: stereoscopic
image and spatial sound.
I was trying also to reflect to rather abstract notions as Endoperspective,
Ultraperspective, Cross-Modal Association, Artificial Synaesthesia,
and finally - Mirror World hypothesis. |