Fascinated and inspired by Nikolai Fyodorov's wildly speculative Philosophy of the Common Task and Arseny Zhilyaev's intriguing idea of Planetary Museums, I recently started to work on a series of interactive vignettes. Imagine such museum planets would actually exist and there would be thousands, even millions of them, sculpted by AI and inhabited by billions of immortal transhumans—wouldn't it be naive to expect no glitches could ever occur? In Cosmic Edge Cases you will slip under the blanket of one of the pitiful, solitary ghosts who were forgotten or abandoned by the mighty curators of the Common Task and led astray by ill-calibrated eyes and minds, eternally wandering meaningless voids…
Every now and again, a powerful exhibition leaves a genuinley disturbing impression on me. Some aspects of these experiences may have creeped their way into White Cube Inside Out—an expressionist art space sim developed in Unity and a result of a one-week workshop with Dutch artist and theorist @_menkman. In the game, the visitor enters a virtual glitch gallery and can wander around freely. WCIO explores potentials of software glitches as artistic and communicative tools, bridging the gap between artist and audience by offering unpredictability and levelling power relations.
The user, degraded to a mere observer, plunges through a virtual library, unable to apprehend the information hidden away behind impenetrable bars. After a few moments of wonder, they become painfully aware of the limitations of their experience. As We May Forget has been designed as a cyberspace dystopia, a cautionary tale of a broken, post-neutral Internet and was inspired by Jorge Luis #borges' "The Library of Babel".
During the original exhibition in Stuttgart at @NM_MerzAkademie, visitors stood in front of a large stereo 3D display, which was mounted in a cramped, darkened box to further amplify the sense of initimidation and constriction.
Structures typically hidden away from us tend to emenate an eerie appeal. In this ongoing series I superimpose photos of industrial facilities from city outskirts with RAW databendings—which reveal underlying patterns and materialities of digital media not meant to be consciously perceived by the user. By extracting visual details and textures of both the sites and the databending processes, I'm seeking to distill an aesthetic of the hidden.