BARCODE BUILDING

AVO 01

DIALOGUE WITH THE YOUTH

BLANK

NUDE DESCENDING AN ESCALATOR

CLOSED CIRCUITS

DER TROST DER GUTEN FORM

MUSIC FOR 18 MUSICIANS

UNSPECIFIC OBJECT - Top 09

NOTES ON COLOR

24!

NOTES EX04

NOTES EX01

NOTES 01

VINYL STUDIES

NOTES

24! (FACTORIAL TWENTY-FOUR)

Installation, O.K and ars electronica, Linz, A, 2003
"DIGITAL TRANSIT", Medialab Madrid, ES

(24 pedestals, 24 speakers, 3 PCs, 4 video projectors, 4 mirrors)
Sound and Programming: Michael Aschauer

Binary code is the basis of every digital computer system. Data is in and of itself neutral; it is the process of updating data that requires interpretation by programs, i.e. the sorted information must be translated into an event that human beings can perceive. Thus, for example, both optical and acoustic results can be generated from the same data. 24! is a systematic and categorical treatment of this phenomenon. In it, a simple binary code is translated into spatial, acoustic and optical reference systems. For this purpose we sought common denominators and dispensed with decorative elements so that the fundamental structure is identical with the final work. The installation presents itself in the form of its own skeleton.

The work is based on the bit system and translates the four possible states that two bits can represent (00, 01, 10, 11) into the Cartesian system of coordinates. The result is the definition of four distinct points whose relative positions describe a rectangle (which, in turn, corresponds to the shape of a pixel, the smallest visual entity of the computer system). The establishment of six axes of movement lays down a finite number of possible positions relative to the four defining points, thus yielding 24 different sequences of movements within the specified geometric system. Every possible pattern of movement is combined with respect to one another, which yields a finite number of 24! (factorial twenty-four) different permutations. Once a block of 24 permutations has been gone through, the layout of the pixels is rearranged. Just as in a song´s refrain, all visible pixels move in unison, then regroup and begin with the next set of variations. The animation is played at six different speeds, corresponding to the number of vectors.

The installation is a form of "minimal media art." The pedestal, a classic form of presentation in the art context, is isolated as a spatial element, and 24 are arranged in a series. The small sculpture or art object one might otherwise expect to find on it is projected onto the surface of each of the 24 pedestals. Immateriality replaces materiality. Tilting the image surface is turned into a form of presentation. Each animation is self-contained; a black square on a white background moves along the axes of the pedestal´s top, thus describing the surface.

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