Painting 2014 Kills your Vision
Theoretical Neuronal Computation & Dynamics
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#PIXELRESEARCH #DATAMOSHING #SEIZURETIMING REFORMATTING THE THEORY OF COLOR BY LOOKING AT BITS, THINKING OF PHOTONS, AND APPLYING IT TO SELFIES…#THEMALLEABLESUBJECT
#DATADRIVERS as the new Fine Art research platform in the discombobulation and reformation of graphical representations…
I want to express the übervision of the drosophila melanogaster, a true overseer of reality, a buzzing element continuously maintaining the very fabric of color, shape, and volume given unstoppable influx of photons into rods and cones too numerous to fathom…
I want to express the buzzing high of extreme visual connection to existence, but from the perspective of the fly, an animal as equally attracted to fresh fruit, body waste, and everything in between.
The drosophila melanogaster is the most studied animal in the history of science, and as such, homage to its eyes, whose numerous photoreceptor channels are in a continuous bathing flux directly sensible to amount of light present, is of absolute necessity.
To entertain the possible iterations of vision by the drosophila eye is the goal of my screen-based work today, illustrating the artist as a malleable subject who is fully sculpting a vision derived from an biochemical response to unavoidable energetic input.
Through datamoshing reverberating webcam feeds, and arbitrarily collected footage, forcing the breakdown of pixels into painterly artifacts, and also blooming said pixel-stacked artifacts into melty multiplications of intensified color, I seek to illustrate what molecular neuroscience has imaged thus far.
Consequently, the malleable subject is then projected as an artifact of necessity, where the forced breakdown of nature and nurture by mere living often blooms into unavoidable and pleasant cacophony.
This is the noise that provides us with the platform from which to uphold artistic integrity in the face of harmful bureaucracy, institutionalization, and a culture that steers our brightest minds towards complacent mediocrity.
Although datamoshing as an aesthetic in 2014 is considered “old school” in Net Art only due to the fact of the automation of compression artifacts in real time, the excessive expression of this enhanced feature of time-based graphics manipulation for the purpose of research was not tested outside of dabbling into nightlife live shows far removed from the gallery.
Much like the artist, datamoshing as an art form is as well then brought upon as malleable subject, as well as the image manipulated, and the resulting installation is also then malleable (site aware, fine-tuned, and necessary).We thus conclude in the continuous promotion of a positive flux where humor, upstaging, and moral challenge work together to design an all-encompassing greater good.
