Hybrid Words has been re-worked and re-writtern for ‘Germinal’, an exhibition at the New Media Gallery in Canada.
Beginning with a word, the form of ‘Hybrid Words’ is created thorough layers of complexity. Much like the universe of atoms to which it alludes, its simple, defined, individual parts are combined to create emergent behaviours and visuals, the precise outcome of which is unknowable.
Each word is broken into a series of points to which one or more particles are assigned. These points move, following a single aim per word and are, in turn, followed by their particles. The result is form that appears, superficially, like the word but, like a living creature, is only a result of its internal states and interactions.
This tenuous structure is then destabilised on collision with another word, the two merging by selecting parts of each word to combine and then, from this new term, re-assigning the previous points and particles, discarding any that are deemed extraneous or unnecessary. Each collision, therefore, produces a word further removed, both in language from the linguistic inputs, and in structure from the initial, relatively controlled selection of points and particles.
Hybrid Words is a project with Suhee Kim
Francesco & I presented and performed with the Network Ensemble this weekend at the Royal Academy’s Digital (Dis)connections event. The event was sold out, so we had a good crowd to each of the three performances.
The WiFi spirits of the RA seemed keen to cross over & make their voices heard.
More about the Network Ensemble
Our exhibition, Physics Happens in a Dark Place, went up this week, so I’ve mainly been finishing my piece (Resonance, Revenant) and installing/setting up the exhibition.
At the private view the exhibition was well received and I had some interesting conversations with people around my project, related to both the themes/science and techniques used.
Our exhibition ‘Physics Happens in a Dark Place’ opens this evening, it’s the culmination of the final brief of the Space Program elective and contains 9 multi sensory installations produced in collaboration with PHD physicists from Imperial College. My piece ‘Resonance, Revenant’ will be a part of it. More information/official blurb below:
Planning the installation on Resonance, Revenant for ‘Physics Happens in a Dark Place’, I’ve produced an approximate floor plan.
The aim is that the cables will be long enough to bundle out the back of the amplifier and then trail towards the speakers, showing the connections and the distance between the particles and serving to be flexible enough to show the changing nature of the underlying system (which will change the connections and couplings based on self selecting frequencies).
This week I installed a project as part if the Synthetic Aesthetics Friday Late at the V&A, it was a collaboration with vis comm 2nd year Suhee Kim.
Projected in an archway, it collided animal names and zoological terms to create names for new hybrid creatures. Just before installing we added the ability for it to save the new words it created, so now we have a large text file of names of imaginary beasts to play with.
The ICA has an upcoming exhibition of work by artist Hito Steyerl, should be good. Here’s a few bits of writing about and by and interviews with Steyerl.
[if you stay on the ICA page for a while, it auto plays you ‘How Not To Be Seen. A Fucking Didactic Educational .Mov File’]
I saw ‘Women and Work’ at the Tate Britain, a display of sociological research from 1973-5 by Margaret Harrison, Kay Hunt and Mary Kelly about the working conditions of women at a factory in Bermondsey. I’d been to see the Richard Deacon exhibition, which was great, and came across this while walking through the rest of the gallery.
The presentation was minimal, containing photocopies of official documents such as medical records, photographs and simply typeset data. Descriptions of the work and lists of tasks were often accompanied by images of the task, often close up shots of the hands at work which seemed to emphasise the repetitive nature of the actions. Of particular interest was a table of men’s tasks vs women’s tasks in black and white on an A4 sheet, next to looping videos of those tasks on two screens, side by side like the table columns.
There was a lack of commentary, with the facts and data speaking mostly for themselves. The caption stated that the “investigation was timed to coincide with the implementation of the Equal Pay Act”, so in that temporal and political context they would have had a certain weight (not that an investigation into gender inequalities lacks relevance today). It was great to see research presented in a way that displayed the facts while allowing the humanity and warmth of its subjects to come through and that presented a political subject in a political manner, as the display card stated it tackled “political and industrial issues from an overtly feminist perspective”.