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.
0100 — SCALE: TRADE-OFFS THAT SCALE
Obsolete Gamut at Zenith (2023)The Angel finds a forest of spiraling vectors, amongst which a particular grove,
known as ”Wodan’s Trees,” forks quite differently than its surroundings.
It’s easy to see why the grove is named after Wodan (Odin), the cyclops god who sacrificed an eye in exchange for the sense of future vision: even though the branches continue to grow, they display only an Obsolete Gamut at Zenith, signalling the end of their cycle and an impending failure to render.
Fascinated by the lore of future failure, a perspective diametrically opposed to her own fixation on past collapse, the Angel enters the grove, hoping to learn from Wodan’s sense of foresight.
But as soon as she steps inside, she is caught in a recursive double blind between future collapse, and past obsolescence, and everything around her turns to ruins.
With no sense of direction, up or down, forward or backward, the Angel feels suspended, unaware that she has tumbled onto the abyss of her own Myopia.
👁️
It’s easy to see why the grove is named after Wodan (Odin), the cyclops god who sacrificed an eye in exchange for the sense of future vision: even though the branches continue to grow, they display only an Obsolete Gamut at Zenith, signalling the end of their cycle and an impending failure to render.
Fascinated by the lore of future failure, a perspective diametrically opposed to her own fixation on past collapse, the Angel enters the grove, hoping to learn from Wodan’s sense of foresight.
But as soon as she steps inside, she is caught in a recursive double blind between future collapse, and past obsolescence, and everything around her turns to ruins.
With no sense of direction, up or down, forward or backward, the Angel feels suspended, unaware that she has tumbled onto the abyss of her own Myopia.
👁️
Xilitla (2013) Music Tonylight.
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De/Calibration Target (2023) was curated by Nora O’ Murchú produced by Transmediale with financial support of Stimuleringsfonds
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Obsolete Gamut at Zenith, commissioned and acquired by Künstpalast Düsseldorf, 2024.
////////////////////////////
XILITLA
was developed during my 2013 EMARE residency at CANTE, Centro de las Artes San Luis Potosi, 2012. Xilitla was curated and acquired by Ward Janssen for MOTI (NL) in 201
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.
////////////////////////////
XILITLA
was developed during my 2013 EMARE residency at CANTE, Centro de las Artes San Luis Potosi, 2012. Xilitla was curated and acquired by Ward Janssen for MOTI (NL) in 201
