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.
Studying the Spomenik’s vector glitch, she recognizes the ghosting artifacts of the PenRose-Stairs just long enough to grasp her problem: she is outside the protocol.
She recalls the DCT Drama, when optimization installed constraints.
In this upgrade, her perspective is now obsolete; an unsupported casualty of the Upgrade Paradox.
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 of a repository of render objects.
Like a media archaeologist from the future, she attempts to reconstruct a PenRose-Stairs. But synthetic data, locked in machine-defined standards, produces nothing but a blue haze of noise. Machine vision for vision machines.
If her tools can’t resolve the Spomenik, she needs to find another window.
In a last attempt, she scans frequency bands usually filtered out. On a quiet C-band channel she hears a faint echo: a CyCLOPS.cy corner-reflector, part of a geospatial array tracking surface deformation. She feeds SPOMENIK data into the network.
The system seems to initiate an adversarial comparison: a generator pushes images up from the blue noise while a discriminator tests for failure.
Phase differentials accumulate, coherence is imposed...
The misalignments around her dissolve and to her surprise, an im/possible image renders..
While the environment around her remains coherent, the Angel reflects.
She recalls the DCT Drama, when optimization installed constraints.
In this upgrade, her perspective is now obsolete; an unsupported casualty of the Upgrade Paradox.
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 of a repository of render objects.
Like a media archaeologist from the future, she attempts to reconstruct a PenRose-Stairs. But synthetic data, locked in machine-defined standards, produces nothing but a blue haze of noise. Machine vision for vision machines.
If her tools can’t resolve the Spomenik, she needs to find another window.
In a last attempt, she scans frequency bands usually filtered out. On a quiet C-band channel she hears a faint echo: a CyCLOPS.cy corner-reflector, part of a geospatial array tracking surface deformation. She feeds SPOMENIK data into the network.
The system seems to initiate an adversarial comparison: a generator pushes images up from the blue noise while a discriminator tests for failure.
Phase differentials accumulate, coherence is imposed...
The misalignments around her dissolve and to her surprise, an im/possible image renders..
While the environment around her remains coherent, the Angel reflects.
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