About
[Text available only in English] We postulate that an existential volume is equivalent to its echoes.
The 181 uses digital technology to create new existential and perceptual architectures from hybridized, recycled, generalized volumes of information. From a conceptual scaffolding of quantum information theory we approach computer networks, cameras, projectors, reflectors, beam-splitters, electro-mechanical devices, and sensors as raw materials.
Situations generating experiential spaces that expand, contract, or reassemble as information sloshes about. Imperfect approximations of the universe as a whole.
We are (at various times) one visual artist, one biologist/mushroom forager, one noise artist, and one physicist/electronic engineer.
Our compositions are webcast; these webcasts are simultaneously brought back into the compositions (projected, reflected, infected). The present is ever permeated by repercussions and the experiential architecture thus created seems a time-space dominated by moving mirrors of various sizes, shapes, and velocities—a circling cycling revisioning architecture. It is well-known that symmetry on a plane suggests volume to the mind, but we are nevertheless surprised that even the oddest, unnatural, un-anticipatable symmetries communicate volume.
The 181 uses digital technology to create new existential and perceptual architectures from hybridized, recycled, generalized volumes of information. From a conceptual scaffolding of quantum information theory we approach computer networks, cameras, projectors, reflectors, beam-splitters, electro-mechanical devices, and sensors as raw materials.
Situations generating experiential spaces that expand, contract, or reassemble as information sloshes about. Imperfect approximations of the universe as a whole.
We are (at various times) one visual artist, one biologist/mushroom forager, one noise artist, and one physicist/electronic engineer.
Our compositions are webcast; these webcasts are simultaneously brought back into the compositions (projected, reflected, infected). The present is ever permeated by repercussions and the experiential architecture thus created seems a time-space dominated by moving mirrors of various sizes, shapes, and velocities—a circling cycling revisioning architecture. It is well-known that symmetry on a plane suggests volume to the mind, but we are nevertheless surprised that even the oddest, unnatural, un-anticipatable symmetries communicate volume.
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About
[Text available only in English] We postulate that an existential volume is equivalent to its echoes.
The 181 uses digital technology to create new existential and perceptual architectures from hybridized, recycled, generalized volumes of information. From a conceptual scaffolding of quantum information theory we approach computer networks, cameras, projectors, reflectors, beam-splitters, electro-mechanical devices, and sensors as raw materials.
Situations generating experiential spaces that expand, contract, or reassemble as information sloshes about. Imperfect approximations of the universe as a whole.
We are (at various times) one visual artist, one biologist/mushroom forager, one noise artist, and one physicist/electronic engineer.
Our compositions are webcast; these webcasts are simultaneously brought back into the compositions (projected, reflected, infected). The present is ever permeated by repercussions and the experiential architecture thus created seems a time-space dominated by moving mirrors of various sizes, shapes, and velocities—a circling cycling revisioning architecture. It is well-known that symmetry on a plane suggests volume to the mind, but we are nevertheless surprised that even the oddest, unnatural, un-anticipatable symmetries communicate volume.
The 181 uses digital technology to create new existential and perceptual architectures from hybridized, recycled, generalized volumes of information. From a conceptual scaffolding of quantum information theory we approach computer networks, cameras, projectors, reflectors, beam-splitters, electro-mechanical devices, and sensors as raw materials.
Situations generating experiential spaces that expand, contract, or reassemble as information sloshes about. Imperfect approximations of the universe as a whole.
We are (at various times) one visual artist, one biologist/mushroom forager, one noise artist, and one physicist/electronic engineer.
Our compositions are webcast; these webcasts are simultaneously brought back into the compositions (projected, reflected, infected). The present is ever permeated by repercussions and the experiential architecture thus created seems a time-space dominated by moving mirrors of various sizes, shapes, and velocities—a circling cycling revisioning architecture. It is well-known that symmetry on a plane suggests volume to the mind, but we are nevertheless surprised that even the oddest, unnatural, un-anticipatable symmetries communicate volume.
Author
United States Eugene
Performances
the like of this bell there is not in this world
full 181
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