Volume, Massa, Circulatie, Lichtinval/shaduw, Dynamiek, Daglicht, Kunstlicht, Verhouding, Perspectief, Tijd, Textuur, Materiaal, Oriëntatie, Repetitie, Perforaties, Kleur, Schaal, Contrast, Akoestiek, Structuur, Constructie, Begrenzing & Reflectie


gegevens: binaire code (O/I), letters, pixels, nummers, temperatuur, frequentie, gebaren, tijdscode, tekens, kleurcodes (RGB/CYMK), straling, coördinaten (x,y,z), gen, amplitude, toon, …

informatie: tijdstip, curve, beeld, diagram, grafiek, tabel, lijnen, vingerafdruk, schets, tekst, pictogram, symbolen, barcode, duur, morse, codetaal, hexadecimale code, ruis, projectie, kleur, hiëroglief, locatie, DNA, brailleµ, …

communicatie: sensor, trillingen, aanraking, herinnering, geheugen, tast, textuur, reliëf, warmte, smaak, beweging, lichaamstaal, geur, geluid, emotie, verbaal, reactie, vervorming, vorm, interactie, …

samenstelling/compilatie     1-3

Self-Portrait as a Ghost, 2004, Christopher Taggart

This series of drawings was made using pictures of other individuals also named Chris Taggart, which the artist found on the internet. Using the computer, Taggart divided the original images into approximately 5000 pixels. He then classified the brightness of each pixel on a scale of one to twelve (one being the lightest and twelve the darkest).

Taggart translated this numeric scale into his drawings. Using technical pens and templates, he rendered each pixel as one or more circles based on their rating on the scale. Hence, a pixel with brightness of one appears as a single circle, a pixel rated as nine consists of nine concentric circles, and so on. He used progressively lighter shades of ink to draw the larger outer circles in each unit. The final portraits are composites of all the interfaced circles.

Mathematical data    4-7

Chikenomone, 2005, Christopher Taggart

Construction based on 3D mathematical fractals and constructed with chicken paws.

Human – Machine     8-9

YOU, 2004, Kenneth Feingold

Two identical heads (but one with a male and one with a female voice) lie on pillows upon a kitchen table, emerging from a sort of shipping case. They argue with each about their relationship, make up, regret their argument, and begin to argue again – each time slightly different but generally in a similar way.

We see how oft-repeated phrases can have little real meaning, but a lot of power to do harm. The endlessness of their predicament is literally programmed and self-perpetuating, going nowhere – perhaps a way to think about those who cannot escape from similar cases.

Ken Feingold’s work is a “cinematic sculpture”.

The dialog is not pre-recorded, and is different each time someone visits it, generated in real time by a computer program. The conversations that these figures carry on are neither completely scripted, nor are they random; rather, the software gives each a ‘personality’, a vocabulary, associative habits, obsessions, and other quirks of personality which allow them to behave as if in a scene of film, acting out their role over and over, but always changing.

Scale      10-18

Microscopic Perfect Cube, 2005, Matt Hope      10-13

The Artist worked with engineers to create a ‘microscopic sculpture’ barely visible to the naked eye.

In order to secure the ‘micro sculpture’ and make it visible an elaborate viewing and containment systems was constructed.

Inverse Perfect Cube, 2007, Matt Hope      14-18

Massive perfect inverse cube constructed out of one block of chinese granite.

Function     19-24

Synaesthetic Filter, 2009, Stefan Rutzinger and Kristina Schinegger

Los Angeles architects Stefan Rutzinger and Kristina Schinegger have designed Synaesthetic Filter, a proposed mobile pavilion for experimental music that can change shape to alter acoustic qualities during a performance.


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