Visit the BLOB here | Chinese version here  

作品描述(也在网站上):
想象一下,您可以获得您认为重要的任何对象或现象的“不可能”图像,而不受空间、时间、能量、信号/噪声或成本分辨率的限制。你会创造什么样的形象? (答案当然可以是一个假设的图像!)

这是我在欧洲核子研究所巴塞罗那驻留期间问过的每一位与我交谈过的科学家的问题。在BLOB项目中,我展示了这项研究为我打开的一些见解。

BLOB(二进制大对象)为Im/Possible图像集合提供了一个家,这些图像共同说明了不可能的图像的概念以及可见性的边际、分辨率和转换中的折中与损失之间的关系。

当不同的可见性阈值轴(X、Y、Z 和 α)切割 BLOB 时,它们定义了哪些是可能解析的,哪些图像是损失的,或者换句话说,是永远不会被呈现的。尽管通常情况下,这些损失的图像永远不会出现在我们的眼前,但BLOB的假设领域为这些不可能的渲染提供了可能性。



Imagine you could obtain an 'impossible' image of any object or phenomenon that you think is important, with no limits on spatial, temporal, energy, signal/noise or cost resolutions. What image would you create? (the answer can be a hypothetical image of course!)

This was the question I asked every scientist I spoke to during my Arts at CERN/Collide Barcelona residency (2019-2020). As a result of this exploration, I now have a collection of Im/Possible images, that I organise in a low poly rendition of the unquantifiable BLOB of Im/Possible images. Some of these images would have never found their way to our eyes; they would have remained impossible, only to exist in the hypothetical realms outside the BLOB.  

The BLOB (Binary Large OBject) gives a home to the collection of Im/Possible images that all together illustrate the concept of the impossible image and the relationships between affordance, resolution and compromise. As different Axes of Affordance (X,Y,Z and α) cut the BLOB, they define what is possible to resolve, and what images are compromised, or in other words, will never be rendered. While normally these compromised images would never find their way to our eyes, the hypothetical realms of the BLOB offer pasture to these impossible renders.

In the summer of 2021 Lothringer 13 Halle (München) will organise a real life exhibition of Im/Possible images. Your submission will also be considered for this exhibition. The BLOB of Im/Possible Images is made in commission for Haus der elektronischen Künste Basel (HEK) and uses the NewArt.city platform. 











[ 0100 ]

Resolution Dispute 0100 : Scaling as Violence
[[part of Resolution Studies]]


[ 0100 ]


...
..
Knowledge of the hidden and knowledge of the measurable What happens when something exist outside the dimensions or system units of scale? In order to distinguish something of significance from its background environment we must first be able to perceive it. If it remains invisible, inaudible, intangible, or unmeasurable it remains indiscribable and therefore unknowable at least to most of us.
.


- Graham Harman on OOO objects.

[or: Distances from and behind the screen]
Scale, aspect ratio, size, frequency.








 




▋⌁
[analogue]
/ VERTICAL CINEMA   :: LUNAR STORM
About the Vertical Cinema project
What we usually identify as the indisputable ‘temple of film’, the Cinema, is not really a given, especially not in the realm of experimental cinematic arts. Yet this is somehow sidelined in the process of re-thinking the possibilities of cinematic experience, mostly because the architectural frame is already there, if only as a convention established a long time ago within the theatrical arts. Actually, the history of experimental cinema and the art of the moving image suggests that the space might very well be the crucial aspect of the total audiovisual experience – something one should always question and take into consideration when producing a work for audiovisual, sensory cinema.

For the Vertical Cinema project we ‘abandoned’ traditional cinema formats, opting instead for cinematic experiments that are designed for projection in a tall, narrow space. It is not an invitation to leave cinemas – which have been radically transformed over the past decade according to the diktat of the commercial film market – but a provocation to expand the image onto a new axis. This project re-thinks the actual projection space and returns it to the filmmakers. It proposes a future for filmmaking rather than a pessimistic debate over the alleged death of film.

Vertical Cinema is a series of fourteen commissioned large-scale, site-specific works by internationally renowned experimental filmmakers and audiovisual artists, which will be presented on 35 mm celluloid and projected vertically with a custom-built projector in vertical cinemascope.

The programme is made solely for projection on a monumental vertical screen that was first upended in 2013 at Kontraste Festival in Krems, Austria.

About Lunar Storm. 4’15’’ COLOUR; 2013.
The surface of the Moon seems static. Though it orbits the Earth every 27.3 days, with areas of it becoming invisible during this rotation, it is always (visibly or invisibly) above us, reassuringly familiar. The Moon is the best known celestial body in the sky and the only one besides the Earth that humans have ever set foot on.

The Seas of the Moon (Lunar Maria), consisting not of water but of volcanic dust and impact craters, appear motionless to the naked eye. Here, volcanic dust forms a thick blanket of less reflec- tive, disintegrated micro particles. But on rare occasions, beyond the gorges of these Lunar Maria, and only when the lunar termi- nator passes (the division between the dark and the light side of the moon) a mysterious glow appears. This obscure phenomenon, also known as lunar horizon glow, is hardly ever seen from Earth.

Beyond the gorges of the Lunar Maria, the Moon is covered with lunar dust, a remnant of lunar rock. Pummelled by meteors and bombarded by interstellar, charged atomic particles, the molecules of these shattered rocks contain dangling bonds and unsatisfied electric connections. At dawn, when the first sunlight is about to illuminate the Moon, the energy inherent to solar ultraviolet and X-ray radiation bumps electrons out of the unstable lunar dust; the opposite process occurs at dusk (lunar sunset). These electrostatic changes cause lunar storms directly on the lunar terminator that levitate lunar dust into the otherwise static exosphere of the Moon and result in ‘glowing dust fountains’.

official website || Vertical Cinema about


Myopia 2015

[ Wavelets ]
‘Myopia’ (2015)
Myopia (2015)
13x3.5m wall vinyl showcasing wavelets and extruding vectors.
Zooms into the JPG2000 wavelet compression artefacts.

Myopia zooms into the JPG2000 wavelet compression artefacts, created by introducing a line of ‘other language’ into the JPEG2000 file data.

The day before the iRD closed its doors, visitors were invited to bring an Exacto Knife, to cut their own resolution of ‘Myopia’, and mount them on any institution of choice (book, computer or other rigid surface).


Myopia (2015)
“No objects, spaces, or bodies are sacred in themselves; any component can be interfaced with any other if the proper standard, the proper code, can be constructed for processing signals in a common language.” - Donna Haraway’s A Cyborg Manifesto (1985). Link pg. 32

 
Backstory
Its a late, clear night during the Winter of 2016. From the porch of my little cabin in the Mojave Desert I observe strange lights in the air. They are floating along the mountain rims, 30 kilometres up North. Its not the first time that there, in the distance and above a simulation village some name ‘little Baghdad’, I see the military test their new strange flying machines. At night, I film the lights and record the unexplainable rumblings; the different forms of sound pollution in the otherwise quiet desert. During the day, I drive around, exploring with my binoculars.

I read all of the few magazines in the cabin, issued by CLUI (Center of Land Use Interpretation). They feature research on several military outposts ranging from nuclear test villages in Nevada to the USAF-51 Aerial photo calibration targets. And it is then when I feel no longer like a lost visitor in the desert. The desert, the military and I are connected by our research in resolutions.

This Google maps screenshot depicts a slab of concrete displaying an original USAF-51 resolution target, a two-dimensional optical artefact that was used for the development and calibration of aerial photography, following a measurement sometimes refered to as Ground Resolved Distance.
The resolution of an aerial photograph can be described as “a GRD > 0,5 m;” meaning that objects of 0,5m or larger can be detected or interpreted from the image in question. Smaller objects presumably will not be resolved and, therefore, are not interpretable.

The history of these targets is shrouded in mystery and their locations are hard to track down. Even CLUI (the Center for Land Use Interpretation) in LA had no information about their location for me. During a long Google Maps stumble session, I suddenly roll over the coordinates of one of the huge slabs of concrete. Surprisingly, its location is rather close: a 3hrs drive North West of the cabin, East of the Mojave Base ‘Fort Irwin’. Its a pilgrimage that needs to be prepared - its not clear if the dirt roads leading to the lonesome, decommissioned slab of concrete are maintained. But the slab of obsolete technology speaks to me: it is the first physical embodiment of my research.


︎ corona test targets near Casa Grande @google maps




  


A PROPOSAL FOR:

Decalibration Target

A DCT resolution target for decalibration, in the Mojave Desert.

Proposal
Inspired by the USAF-51 Resolution Target, I wish to build a Decalibration Target. Located in the Mojave Desert, in line with the locations of the orginal USAF-51 test patterns West of the Black Mountain Wilderness and East of the Edwards Air Force Base. 

But instead of featuring a USAF-51 resolution pattern, the target will carry a message for decalibration, written in DCT (Discrete Cosine Transform). By doing so, the work that will tie together different parts of an Ecology of Compression Artefacts. 

In time, the target will be documented by Google Earth, a documentation that I welcome as part of the work.

The project will reach over the boarders of the digital art, as it combines many of parts of our daily life (military, art, Google navigation). The project aims to bring together these institutions, to instigate possible conversation. At the same time, the project reflects on practices of 1960s and 1970s land art, which were never build to visit, but just to be referenced as a photo in a catalogue, and frames these tradition within a contemporary framework.


Background writing / research:
▚▛ On resolution
▚▛ On racial bias in resolution test cards

Related artworks:
▚▛ On file formats
▚▛ On the JPEG compression
▚▛ On DCT
▚▛ An Ecology of Compression Complexities

Proposal for a solo show.
- possible Decalibration Target
- video on color test cards [letting Lena talk]
- Release of Beyond Resolution catalogue  
- prints of an Ecology of Compression Ecologies
 

mock up of the Decalibration Target.