Late last autumn I made a post titled "Projections Onto the Outside World" where I pondered on the reasonability of translating visuals from the digital into the physical side of things. I also questioned the validity of this endeavour, for it seemed unlikely to bring any additional value (subjective or objective) for the artistic-investigative path. Having done this for a few weeks now - after taking a hiatus during the darkest winter months - I hoped there would be something more substantial to report on this experiment. Alas, there is not. I can, however, detail some of the more insignificant insights that have occurred while tinkering on these pieces.
First, there is the realization about enhancement of participatory knowledge as John Vervake puts it in his Awakening from the meaning crisis series. According to John's theory (supported by ancient greek philosophies), there's multiple ways of "understanding" something - propositional, participatory, perspectival, and procedural. From these, it could be argued, participatory and procedural get trained more when working in full body instead of on computer by translating actions via mouse, controlling a digital brush in order to apply digital pixels on a flat screen. In physical, when creating frames from wood, one must know the wood, to paraphrase the aformentioned greek philosophers. This enhancement of participatory knowledge, in turn, might yield amplified insight into the art-object in question, allowing one to get closer to that famed "perfect mode of mediation" that most of the rants on this blog have been about. Unfortunately no objective metric of evaluation about this process exists, as I mentioned in the previous post. One must simply "trust the practise" and have faith that Sophia's guidance is accurate, that her instinctive shaping of the salience landscape holds true, no matter where it might lead. If it happens to lead into creation of these frames, pulling one to create more and more of these physical manifestations onto the world, then so be it. For Sophia.
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