How I feel today

“For no apparent reason – that is, for no reason that I was aware of at the time – I curled my hand into a fist, stood up, and punched the wall as hard as I could. The thin beaverboard panel gave way without a struggle, bursting open with a dull cracking noise as my arm shot through it. I wondered if the furniture was just as flimsy and picked-up a chair to find out. I smashed it down on the bureau, then watched in happiness as the whole thing splintered to bits. To complete the experiment, I took hold of one of the severed chair legs in my right hand and proceeded to go around the room, attacking one object after another with my makeshift club: the lamps, the mirrors, the television, whatever happened to be there. It took only a few minutes to destroy the place from top to bottom, but it made me feel immeasurably better, as though I had finally done something logical, something truly worthly of the occasion”. (Paul Auster, Moon Palace, 1989)

Technologically mediated perception

Jack Goldstein, UNTITLED (ECLIPSE), c.1980, Google Image

Ted Krueger is the founder and director of the laboratory for Human-Environment Interaction research, working on a project to fabricate synthetic senses for humans at Rensselaer Polytechnic Institute. Krueger describes “Synthetic Senses’” as „a class of devices interfacing manufactured sensor technologies to the body enabling percepts that are not available to biological sensory modes“. His paper “Mediated Perception: Towards an Experience of Extreme Environments“, presented during the 2007 conference “MutaMorphosis: Challenging Arts and Sciences” in Prague, addresses several important ideas on the general topic of technologically mediated perceptions.

According to the author, uncommon images such as a photo of the Earthrise over a moonscape or the fading of the blue planet into a background of stars in the first voyage to Mars, though giving us a sense of profound isolation are extremely valuable for our culture. Krueger underlies how these images have the quality to shape our understanding of ourselves in new ways.
The idea that extreme environments – usually life threatening – require interrogation by robotic and remote sensing techniques rather than by human exploration and habitation is a commonly accepted one. Though much of what can be learned about extreme environments derives indeed from the use of technology, the fact is that technology sort of prevents us from having a direct experience. Even if in the end we can only experience hostile environments through our technological bubble, Kruger argues for “the irreplaceability of human presence in extreme environments on the grounds of human experience“. Assertion which leads Kruger to question: “can technologies be developed to open extreme environments to experience rather than shielding us from such environments?“.
In this paper, Kruger concludes that “Perceptual prostheses (..) will enable the direct perception of hostile conditions from with in the technological womb” and “may become a key enabling technology for the habitation of extreme conditions in addition to providing the principle justification for a human presence in them“.

His own research and activities in creating devices which explore the electrical and magnetic fields, has led him to question to which degree the mediated experience of extreme environments accurately represents the ‘real’ conditions of that environment. Though, we typically assume that our perceptions are of reality, the truth is that our membranes are only sensitive to select portions of the available spectra. According to Krueger, authors such as Varela, Thompson and Rotch (1991) have proven that the sensitivity of different species to light varies considerably. We can only perceive a small spectra of what is available, and even this partial perception is „dependant upon artifacts of our biological constitution“. Kruger writes: „Our perception is already ‘mediated’ by our biological makeup“. On top of this we construct our reality based on our experience (Glanville 1999 quoted by Krueger), which is not only influenced by our sensory flux but is also a product of our socio-cultural activity.

As a conclusion, to the paradox of technology both enabling and preventing our experience of extreme environments, Krueger interestingly says„In the end the verisimilitude we seek is a function of the degree to which coherent patterns can be built. The implication of this may be that we can only perceive and believe those things that cohere for us, that certain kinds of disorder may simply not be available for our apprehension“.

Cat Power – Metal Heart

I wish I could start all over again. Again.
Leave everything behind, unknown, free…

All words seem inappropriate, all feelings a mistake.

„Neurocinema Zum Wandel der Wahrnehmung“ (1996) & „Wahrnehmung im technologischen Zeitalter“ (2000) by Peter Weibel (II)

4 years later, „Wahrnehmung im technologischen Zeitalter“ (2000) goes a step further in admitting clearly that the investigation on machine-aided perception has also been a machine-aided one and that our technological apparatuses more than imitating human perception are in fact engaged in substituting it.

„Es handelte sich also in der Neuteit um die Untersuchung maschinengestützter Wahrnehmung von Welt und um die maschinegestützte Untersuchung der Wahrnehmung von Welt“ (Weibel 1996: 321)

If in the first text Weibel was interested in proving that machine-aided perception corresponds to an historical time period which was strongly machine-based, in the 2000 text he makes the point that the apparatuses of the Industrial Revolution have not simply changed the conditions of reproduction, distribution and content of books and films but perception in itself. What changed was not only the perception of the artwork in itself but the perception of reality altogether, thus introducing severe changes:

„Die Apparative Wahrnehmung einer apparativen, von Apparaten durchdrungenen Wirklichkeit erzeugte langfristig eine apparative Kunst. Wahrnehmung im technologischen Zeitalter heißt also apparative Wahrnehmung.“(Weibel 1996: 323)

The text redraws an important conclusion, that perception – under apparative conditions – falls into a point of view which almost postulates perception in itself as an apparatus. (Weibel 1996: 324) It further recognizes that the objective of technique is not only the imitation but rather the replacement of human perception.

„Die maschinelle Nachahmung der menschlicher Wahrnehmung, genauer die Apparative Nachahmung des menschlichen Wahrnehmungsapparates, gehört zum Projekt der industriellen Revolution. Die Industrialisierung der Ästhetik begann mit der Insdustrialisierung der Wahrnehmung. Dieser Industrializierung besteht also erstens aus der Analyse der natürlichen Wahrnehmung als Apparat und zweitens aus der Konstruktion ener Apparativen Wahrnehmung als technischer Reproduktion der natürlichen Wahrnehmung“ (Weibel 1996: 324)

Two conclusions could thus be summoned, according to the author. First, in the technological age, perception occurs under apparative conditions, it is machine-aided and facilitates a new perception of space, time and finally the world. Second, this apparative condition changes the perception of the perception. In a apparative perceptual world observational systems are participating systems. Machine-aided, apparative perception supports a paradigm shift from the perception-shaping by experimental psychology to perception-design by cognitive psychology and neuroscience. The transformation of the perception from natural to apparative perception in the technological age enforces the recognition of an obvious constructivism inherent to it. (Weibel 1996: 341) And also that

„Wahrnehmung ist Technologie per se – dies ist das Fazit, die Conclusio der Wahrnehmung im technologischen Zeitalter (…) eis Sinnesdatenprozessor der besonderen Art“ (Weibel 1996: 341)

„Neurocinema Zum Wandel der Wahrnehmung“ (1996) & „Wahrnehmung im technologischen Zeitalter“ (2000) by Peter Weibel

Published in 2000, Peter Weibel’s text „Wahrnehmung im technologischen Zeitalter“ picks up where his previous text „Neurocinema Zum Wandel der Wahrnehmung“ – written six years before – had left off. Focused on the changes perception undergoes in the technological age, both texts explore essential ideas. Namely, the loss of human perception as an anthropological domain, for human perception has been replaced by machine-backed-up perception. Secondly, that there seems to be less interest in understanding the objective changes in the „world of perception“ than in the subjective changes perception undergoes under the influence of the „world of apparatuses“.

This specific interest in the “world of apparatuses” surfaces in the 1996 text „Neurocinema Zum Wandel der Wahrnehmung“, since in it Weibel traces exactly a brief history of technical apparatuses – from photography to the computer. In it the author argues how, in the XX century, the changes in the concept of the visual occurred in parallel to the changes in the concept of the technical image, in this way advocating the importance of looking into the historical conditions of technical visuality in the XIX century. Weibel’s main thesis here is that the creation of the technical image was held under the influence of the industrial revolution, a revolution which was precisely a machine-based one.

On its turn, the postindustrial Revolution is an information-based one. In this sense, the digital image would be the postindustrial version of the moving image and correspond to the substitution of the illusion of the moving image for the illusion of the living image.

„War der Schwerpunkt in den ersten hundert Jahren dis maschineunterstützte Erzeugung von Bildern (Fotografie, Film), ist der Schwerpunkt seit den letzten 50 Jahren die maschineunterstützte Speicherung und Übertragung von Bildern (TV, Computer). Dieser Wechsel ist Fundamental und hat den Charakter des Technischen Bildes vollkommen verändert. Die neue ästhetischen Möglichkeiten der Maschineunterstützung Speicherung und Übertragung von Daten haben auch wesentlich dazu beigetragen, von Medienkunst statt Maschinenkunst zu sprechen“ (Weibel 1996: 187)

Until here the previous forms of retention of the image were of chemical or magnetic nature. These were hardly changeable, highly deletable and extremely difficult to access.
For the first time in history and completely machine created , the digital image not only unites all previous four properties of the technical image but also introduces new ones, such as virtual variability, viability and interactivity. As a dynamic system of variables, the digital image can be changed at any time.

A six moment in this development would correspond to the internet, interface systems and sensory-technologies . This moment is characterized by information reaching more people and occurring in different places (non-local), at the same time or at different times (simultaneous or successive). Weibel speaks of a neurocinema, which could be influenced through brain waves and of the possibility of coupling the human mind with the digital world directly. Having predicted today’s world of connectivity – cableless, non-local, allowing parallel events, where the monopol of the real no longer exists and “citizens look into the image screen of their own brains instead into external reality” -, he further forecasts that the brain would become lossless and be able to couple with the digital world directly.

Art Basel 2009

Here follows my list of favourites in this year’s edition of ART / Basel:

1. Il Tempo del Postino, a group show curated by Hans Ulrich Obrist and Philippe Parreno, originally comissioned by The Manchester International Festival. Conceived as a time-based and not a space-based exhibition, the show brings a series of installations by different artists to a seated audience, in this case in the Theater Basel.
I specially liked some pieces such as Tino Sehgal’s “untitled” in which the stage curtains were manipulated to create a compelling coreography. In Anri Salas’ “Flutterbyes” a series of interpreters where positioned in different locations amidst the audience singing Madame Butterflyes’ aria “Un Bel di Vedremo”. This unforeseen closeness with the opera singers resulted in one of the most touching and dramatic moments of the evening.
Also breath taking was Tacita Deans’ film piece “Merce Cunningham performs STILLNESS (in three movements) to John Cages’ composition 4′33″ with Trevor Carlson, New York City, 28 April 2007″. It is truly “an elegiac portrait of an aging artist and his deceased partner, articulating the melancholia of passing time” (Lauren Hinkson).
Not less powerfull was Doug Aitkens’ “The handle comes up the hammer goes down” performance piece, in which several cattle mid-western auctioners perform live and at amazing speed a bidding on the audience.
Dominique Gonzalez Foersters’ piece “Sol is going home” provided the most beautifull end to this event as the musicians slowly left one by one until the very last one of them was left alone still playing.

2. Anne-Mie Kerckhoven, “Schatten uit het westen”, 1993 and Mark Manders’ figure installation at Zeno X Gallery /BE

3. Alicja Kwade, Different Condition (State of Aggregation) 2,2009 at Johann König Galerie /DE (image above)

4. Stefan Hirsig, collage / mixed media on plywood and John Bocks’ installation at Galerie Stefan Hirsig /DE

5. Mathew Hale, “Die Münze (DM)” installation at Wentrup Gallery /DE

And my list of favourites at VOLTA / Basel:

1. Chris Gillis, “Inside, Into the frame”, Dagmar De Pooter Gallery/BE (image above)

2. Nadin Maria Rüfenachts’ photographic work, Galerie Kleindienst /DE

3. Herbert Weber, “Der Himmel ist immer oben”, 2006 and the “Normale Fakten” serie, 2008, artrepco galerie /CH

4. Nick Crowe and Ian Rawlinson, The Four Horsemen, 2009, Hi-definition video, Ceri Hand Gallery /UK

5. Dean Baldwin, Minibar Project and Sandy Plotnikoff postcards, Katharine Mulherin Contemporary Art Projects / CA

My list of favourites at SCOPE /Basel:

1. Krell 2 go, krellwear.com
Fast chic: you could choose a fabric and with the help of Karelle Levy (founder of Krellwear) customize your own piece on site.

And finally my choices at LISTE /Basel:

1. Lisa Oppenheim, Harris Lieberman Gallery /USA

2. Emilie Pitoiset, “Liebe ist kälter als der Tod”, 2009, Galerie Lucile Corty /FR

3. Jimmy Robert, Galerie Diana Stigter /NL (image above)

Art Basel 2009

“Surprise success: Art Basel dispels credit crunch blues”. “Art Basel’s 40th edition continued to defy the worldwide financial slump”. These were some of the optimistic head titles and reports on Art Basel which could be read on the Art Newspaper throughout the last week.
New Hollywood-star collectors and galleries reacting to the economical crisis by bringing out their best pieces were some of the reasons given for the successful amount of major transactions done during the first days of the fair.

On the one hand, I have heard from some collectors that they bought more than they were expecting to and where even surprised to find such good quality. On the other hand, I hear galleries saying that despite selling something they definitely sold less than last year, which I guess only proves that the real business is being done very few players and that maybe one shouldn’t believe everything one reads in the newpapers…

Fernando & Humberto Campana 1989-2009 @ the Vitra Design Museum

“Antibodies” at the Vitra Design Museum (a Frank Gehry building) is an exhibition devoted to the work of Fernando and Humberto Campana, in which several of their most important design objects can be seen.

Reusing unexpected materials in a new way, I was specially attracted to these two chairs on display:

Swiss Art Awards 2009

Sébastien Mettraux (images above) was one of the privileged artists to receive an award. However, after visiting the Swiss Art Awards 2009 exhibition I realized that the works which actually caught my eye hadn’t, in the most cases, been contemplated with any kind of award – which only serves to prove my lack of taste!;-)

It seemed to me that the most interesting works definitely belonged to Ariane Andereggen, Emanuel Geisser, Kathrin Sonntag, Yves Mettler and Monica Jäger. In addition to these, I also enjoyed Clare Goodwins’ neo-constructivism painting, Seline Baumgartners’ monumental trailer wrapped in white fabric, Maya Bringolfs’ coloured PU-foam monumental object with a couch and a table pilled up and Uriel Orlows’ installation “These Great Times”, which included a free hand-out newspaper with printed photos of political historical leaders done with a magic marker.

Visual and performance artist Ariane Andereggen created a multimedia wall installation containing video, collage, drawings and writing, everything assembled in an apparent anarchic manner. Using linguistic and visual-appropriation strategies and actions, Andereggens’ work investigates into different concepts such as body, archive, spectacle and memory in a punk/ absurdish style. Born in 1969, she first studied acting at the Hochschule der Künste in Bern and later graduated in Media Art (2000) at the Hochschule für Gestaltung in Karlsruhe.

“Satellite, Now Here Nowhere” is an installation comprising a video projection, two mirrors, tripods, a disco ball motor and nylon thread by Berlin-based Emanuel Geisser. The video projection shows an inhospitable landscape, whose footage originates from an expedition to the K2 in the 1950s. The rotating mirror mounted on the engine casts its shadow on the mountains on the screen and then on the surrounding walls of the installation room as it moves around. In the point where it meets the second standing mirror tripod, the word NORTH is reflected onto the opposite wall for a short moment.

1981-born Berlin-based artist Kathrin Sonntag presented a booklet and a series of 81 slides in which arrangements of objects and tools belonging to the studio of the artist could be seen. These works seem to revolve around the question of how we can perceive worldly things around us differently just upon observation. In some moments, this re-staging brings about surreal perspectives, in which hazard and weird dominate.

Winner of a public art contest in Aarburg in 2006, Swiss-born and Berlin-based artist Yves Mettler seems interested in reflecting about memory and public space through his built architectural models in which an audio memory is included. His submission to the Swiss Art Awards follows this principle once more. It consisted of a group of architectural models done in cardboard with speakers and an audio recording.