While scope (frequency range, modality, or data type, etc) establishes boundaries within which capture operates, the process of capture also depends on the settings of the imaging technology.
These settings function as "dynamic trade-offs at scale", meaning that scale is not simply a spatial measurement but rather a trade-off between the settings of the capturing device.
For instance, chip sensitivity (CMOS or CCD), diaphragm aperture and shutter speed of a camera operate at scale because each parameter influences the range the other can function at.
Together, they determine what can and cannot be rendered, introducing qualities such as depth or granularity, while at times prompting a re-evaluation of scope.
This dynamic illustrates how compromise is inherent to capture. It is a procedural trade-off part that is partially responsible for image resolution: when parameters interact at scale, they limit what can will be resolved, leaving certain images forever im/possible and unrendered.
These settings function as "dynamic trade-offs at scale", meaning that scale is not simply a spatial measurement but rather a trade-off between the settings of the capturing device.
For instance, chip sensitivity (CMOS or CCD), diaphragm aperture and shutter speed of a camera operate at scale because each parameter influences the range the other can function at.
Together, they determine what can and cannot be rendered, introducing qualities such as depth or granularity, while at times prompting a re-evaluation of scope.
This dynamic illustrates how compromise is inherent to capture. It is a procedural trade-off part that is partially responsible for image resolution: when parameters interact at scale, they limit what can will be resolved, leaving certain images forever im/possible and unrendered.
TRADE-OFFS THAT SCALE
The Angel finds herself in a wilderness of distortion,
at a loss of protocol,
struggling to render anything.
At the edge of an array of im/possible render vectors, she recognizes a particular grove designated as ”Wodan’s Trees” - which fork quite differently from the surroundings.
It is easy to see why the grove is named after Wodan (Odin), the cyclops god of knowledge, who sacrificed an eye in exchange for the sense of future vision. Even though the branches of the grove continue to grow, they display only an Obsolete Gamut at Zenith, indicating the end of their cycle and foreboding impending failure.
Drawn by this lore of future failure, a perspective diametrically opposed to her own fixation on past collapse, the Angel enters the grove without hesitation, hoping to learn from Wodan’s sense of foresight.
She immediately tumbles into what seems to be aMyopic double-blind. Lacking a sense of direction, up or down, forward or backward — she finds herself suspended, unaware she has fallen into the abyss of her own obsolescence.
Struck by the beam of darkness,
the Angel floats beyond her horizon
with no sense of day or night
no axis of rotation
no North or South.
...Progress, once symbolized by the Hologram PenRose-Stairs to Nowhere, has transformed into a monumental SPOMENIK of nonsensical vectors.
Nothing makes sense and nothing looks familiar anymore.
The Angel is caught in a kernel panic of her own making.
👁️
at a loss of protocol,
struggling to render anything.
At the edge of an array of im/possible render vectors, she recognizes a particular grove designated as ”Wodan’s Trees” - which fork quite differently from the surroundings.
It is easy to see why the grove is named after Wodan (Odin), the cyclops god of knowledge, who sacrificed an eye in exchange for the sense of future vision. Even though the branches of the grove continue to grow, they display only an Obsolete Gamut at Zenith, indicating the end of their cycle and foreboding impending failure.
Drawn by this lore of future failure, a perspective diametrically opposed to her own fixation on past collapse, the Angel enters the grove without hesitation, hoping to learn from Wodan’s sense of foresight.
She immediately tumbles into what seems to be aMyopic double-blind. Lacking a sense of direction, up or down, forward or backward — she finds herself suspended, unaware she has fallen into the abyss of her own obsolescence.
Struck by the beam of darkness,
the Angel floats beyond her horizon
with no sense of day or night
no axis of rotation
no North or South.
...Progress, once symbolized by the Hologram PenRose-Stairs to Nowhere, has transformed into a monumental SPOMENIK of nonsensical vectors.
Nothing makes sense and nothing looks familiar anymore.
The Angel is caught in a kernel panic of her own making.
👁️
Obsolete Gamut at Zenith (2023)////////////////////////////
De/Calibration Target (2023) was curated by Nora O’ Murchú produced by Transmediale with financial support of Stimuleringsfonds
////////////////////////////
Obsolete Gamut at Zenith, commissioned and acquired by Künstpalast Düsseldorf, 2024.
De/Calibration Target (2023) was curated by Nora O’ Murchú produced by Transmediale with financial support of Stimuleringsfonds
////////////////////////////
Obsolete Gamut at Zenith, commissioned and acquired by Künstpalast Düsseldorf, 2024.
