REFRACTIONS (2022 - 2024)
A research project done in the framework of my European Media Art Platform
residency at NeMe, Limassol, Cyprus (2022).
with support from Taietzel Ticalos and Marios Isaakidis.
She studies the endless vectors of the SPOMENIK glitch, when suddenly, she recognizes the ghosting of the PenRose-Stairs.
Only momentarily, but enough. The vision reveals a bigger failure: she is out of protocol.
The Angel recalls the DCT Drama: every upgrade that aims to optimize or clarify inevitably also imposes system constraints. It seems that in this upgrade, her perspective has fallen into obsolescence; an unsupported casualty of the Upgrade Paradox.
Not deprecated, just unaddressable. No longer part of Progress.
Cautiously, she traces the SPOMENIK’s dynamic edges, and its thick deposits of poor-resolution sediment. One shredded side opens to a viewport, offering a glimpse into a repository of render objects.
Like a media archaeologist from the future, she attempts to reconstruct a PenRose Stairs. But the synthetic data, locked in machine-defined standards, produces nothing but a blue haze of noise.
She sighs: machine vision made for vision machines...
If her tools can’t resolve the SPOMENIK, she will need to find another framework.
In a last-ditch effort, she scans the frequency bands typically filtered out or ignored.
When she tunes into a quiet C-band channel, she detects a faint echo: a CyCLOPS corner-reflector, part of a geospatial array designed to track surface deformations. She feeds the SPOMENIK data into the CyCLOPS network.
The system immediately begins adversarial comparisons between generator and discriminator modules, one trying to produce a convincing image from noise, the other trying to detect its failure.
Phase differentials are computed.
Gradually, coherence is imposed...
The misalignments around her dissolve and to her surprise,
an im/possible image renders...
Only momentarily, but enough. The vision reveals a bigger failure: she is out of protocol.
The Angel recalls the DCT Drama: every upgrade that aims to optimize or clarify inevitably also imposes system constraints. It seems that in this upgrade, her perspective has fallen into obsolescence; an unsupported casualty of the Upgrade Paradox.
Not deprecated, just unaddressable. No longer part of Progress.
Cautiously, she traces the SPOMENIK’s dynamic edges, and its thick deposits of poor-resolution sediment. One shredded side opens to a viewport, offering a glimpse into a repository of render objects.
Like a media archaeologist from the future, she attempts to reconstruct a PenRose Stairs. But the synthetic data, locked in machine-defined standards, produces nothing but a blue haze of noise.
She sighs: machine vision made for vision machines...
If her tools can’t resolve the SPOMENIK, she will need to find another framework.
In a last-ditch effort, she scans the frequency bands typically filtered out or ignored.
When she tunes into a quiet C-band channel, she detects a faint echo: a CyCLOPS corner-reflector, part of a geospatial array designed to track surface deformations. She feeds the SPOMENIK data into the CyCLOPS network.
The system immediately begins adversarial comparisons between generator and discriminator modules, one trying to produce a convincing image from noise, the other trying to detect its failure.
Phase differentials are computed.
Gradually, coherence is imposed...
The misalignments around her dissolve and to her surprise,
an im/possible image renders...
SPOMENIK at TRANSFER GALLERY 2017.
A giant cairn of glitch, a monument commemorating no specific moment or entity is recalibrated into the PenRose- Stairs to Nowhere.
XILITLA
Music Tonylight (2013)//////////////////////////// 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 2014