| 1 year of archived email: | ||
In people, memory is the capacity to retain an impression of past experiences. In technology, memory refers to the parts of a digital computer that retain data for some interval of time. Computers now have the ability to save a lifetime of photographs, videos, audio and communications, changing the way that we reference personal memory. With this change, computers can archive and index memories in a way that we have never been able to do before. Computers have become machines for remembering. Using the most primitive form of digital storage, I have recorded all of the emails stored on my computer into thousands of punched cards. Each card contains fragments of communication layered one on top of another to form an analog representation of my collected digital communications. In the same way that information is stored on the computer, I have created indexes to reference the information. Each index is created by manually sifting through the information, word by word, creating unique directories of my personal communications. |
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| binary work: | ||
| With only a one and zero, all information can be described in binary; it has become the universal language that connects both physical and technological spaces. Binary is so fundamental to our everyday lives, yet when seen out of context it appears abstract. While computers use binary as an efficient method for processing data, I am interested in the process of manually executing information, bit by bit, to explore the differences between human and technological expression. Each cross-stitched piece is the artifact of a performance of inefficiency, an attempt to hold onto the rapidly disappearing human hand in modern life. As each piece is stitched, a bizarre combination of new and old technologies is mixed together to form an image of information, the literal translation of the title into binary. | ||
| perecptural translations: | ||
| Technology has created an environment where people and machines have seamless communication. Almost every process within our day to day activities involves some form of interaction with computers. Everything from opening the refrigerator door to making a phone call involves a translation of data from a physical or analog state to an electronic state. Once this information becomes electronic it can be transformed infinitely into any output. My work uses this idea of infinite translation to shift the perceptions of major cultural events from its intended output to one that confuses the senses. Information can be transmitted to the body via any of the senses, including sight, sound and touch. Through a manual process the data is extracted from the original source and then applied to a custom algorithm designed to place the information back into a different form. The data is taken from the original at such a resolution that any loss is kept to a minimum. This way, the output holds the same content as the previous one, only in a different form and one that is more difficult to understand. | ||
| reference list | ||
| John Cage Jonathan Borofsky Felix Gonzalez-Torres Kenny Goldsmith Robert Ashley Marcel Duchamp Tom Friedman David Wojnarowicz Hanne Darboven Merce Cunningham Sol LeWitt Agnes Denes Bruce Nauman Tehching Hsieh John Barton Wolgamot Tim Hawkinson John Baldessari Jeremy Wade |
Tricia Brown Jonah Bokaer MTAA Oulipo Nam June Paik Dan Graham Adrian Piper Roman Opalka Louise Bourgeois Dan Flavin's titles Jennifer and Kevin McCoy Joseph Kosuth John Jasperse On Kawara Oliver Herring Diane Bertolo Ed Ruscha Jennifer Dalton |
Janet Zweig Danica Phelps Xylor Jane Wiliam Kentridge Sean Landers Peter Hujar Bill Viola Antony and the Johnsons Christian Marclay Agnes Martin Janet Cardiff Linda Montano William Gibson Johannes Wieland Steve Reich early William Wegman Vito Acconci Ray Johnson |
| (a manifesto of sorts) | ||
| 1. The work will be driven primarily by idea. 2. Each execution of the idea will be dictated by a defined system. 3. This system will be the determining factor in the works final output. Aesthetics, when considered, will always fall behind the defined system. 4. The work will be heavily dependant on process as a conceptual element. 5. “Information” will provide the source for each piece. By deconstructing, reconstructing, rearranging, extrapolating or decoding the “information” will systematically be applied to the system. 6. The work will contain evidence of obsessive or compulsive behavior. 7. The works creation will be a time consuming task for purposes of meditation, work ethic, investment and calculation. |
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