Via a convoluted process of compression, conversion and transmission; information documenting the site of the painting is broken down to data and de-cohered, mistranslated and finally planted in John Conway’s Game of Life. The fruits of this postefficient process, the still lifes and oscillators are sampled and painted onto the floor, ceiling, walls and furniture from a projected image so that when re-photographed from the point of view of the original shot it is flattened to 2D, bringing the plane of the screen across the space of verifiable reality.
Site-specific wall and floor painting
Data as Culture 2012
July 2012 - March 2013 at the Open Data Institute
Geospatial, Identifiable, Object, Processed
Working around and through and away-from technology’s relationship with humanity Ben Garrod has an old computer, some water colours, a mobile telephone, some effects pedals, lots of Greg Egan and Philip K. Dick novels, several tumblr…