GIS Series
One doesn’t have to be “absolutely modern” as Rimbaud once dreamed, but off-modern. A lateral move of the knight in game of chess. A detour into some unexplored potentialities of the modern project.
Svetlana Boym
Galloway’s statement about the “contents” of web-related art -the process of “necessity” of emancipation of the old medium as content of the novel medium (this is due to the restrictive, therefore reactionary, form of the early encoding of the Net Art as self-referential by autonomous)- can be contrasted with that of Benjamin Weil: “The main object of net.art is the Internet”. But if there is a quality that defines the Internet, it is the blur of its borders, the permeability of its borders, the vortex of its limits, in a single sentence: the construction of the anti-frontier.
Glitch art is the practice of using digital or analog errors for aesthetic purposes by either corrupting digital data or physically manipulating electronic devices. -(a rumor without a name)-. The attention to this operative principle, rather than the politics of form, is the basis of the present research. The results are not those from a lab, they are expressly subjective, necessarily subjective – is to lend subjectivity to a platform of communication, play with the nightmare of the self-conscious data (see James Gleick). And neither it is Glitch Art, for this is nothing more than another premature step of the signifier. Therefore:
GIS (Google Image Search) Series comprises a number of artworks in progress originated by using the Google image search tool; typing a word, phrase or idea that yields to many images but, before doing so, the Internet Bandwidth is altered in order to manipulate the visual outcome of the images: by slowing down the strength of the wifi signal the interface now shows blocks of colors instead of images, discovering a secret representation living inside the original one, a vivid metaphor of how changing the basics of our perception of things can lead to very different and hidden worlds.
Words become images, and images become colorful squares sporting a new language, a new set of rules for interpretation. We are left with blocks of colors that are not the result of mere chance, but unique combinations, deconstructed versions of the images gathered by the computer “thinking” at a lower speed. Same thing when we stop to think about something in more depth, scraping the surface until it becomes something else, always changing: even this art “made” by computers depends on their “interpretation” in a certain moment, that is: their speed.
When the new images are created, traditional and nontraditional mediums are used to physically produce the actual “artifact”, the material representation of the geometrical concept previously obtained. Human interaction is changing in the realms of technology, new mental processes and algorithms are created and, these visual essays, strive to bring our full attention to it.
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