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

BLANK

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Intervention, SCHRIFT:RAUM:FORM, Kubus EXPORT, Vienna, A, 2005

Pfaffenbichler/Schreiber attached an encoded text by Marc Ries to the inside of the glass "Kubus EXPORT." This geometric code structures the space. From the outside the "transparent room" now resembles a black mirror, on the inside immaterial architecture of light.

This text has 2,811 characters, including spaces. It doesn┤t intend to be anything more. The number of characters conforms to the uniform segmentation of a transparent structure┼fs five planes (ceiling, front, end and side walls) into a grid. A single black segment of this grid corresponds to a character (letter or punctuation mark), while the spaces indicate an empty, transparent segment. This attached grid gives the glass construction an additional structure. A binomial structure comprising a large number of black squares and a small one of white squares. This "translation" of the text, its characters and spaces into two non-meaningful units, black/white, empty/full, opaque/transparent, creates a kind of order, one which is universal, though at the same time incomprehensible. It conforms to physical quantities rather than psychological entities. From semantic to ordinal meaning. The text will never be legible in its techno-aesthetic reduction to the walls and ceiling of a glass cube. Does this mean its existence is debatable? The text as such is not legible, but it has also created the binary order as "information." Said in the words of Norbert Wiener, the grid conveys a low level of uncertainty in the presence of a great deal of knowledge about the situation, and therefore a great deal of information. The text is transferred from a semantic to a visual logic, one of "structural vision," in accordance with the dictum that "space has priority over what occupies it." The extensional space yields to a strictly topological one. Meaning becomes the product of a position, a point of view. This space can be found first and foremost in cartography. Nolli depicted Rome as an abstract binary arrangement of black and white on his map: All private and working spaces were registered as black areas, while public spaces and those for traffic are white. This white was really intended to be considered an empty space or an open public place. It enables exchange, control, contingency. Even the transparent spaces of the glass cube act as intermediaries between inside and outside, bring about exchange, and before anything else create a singular and variable illuminated form inside it. The spaces between the words, they are recognizable as the differential. In sentences they provide meaning to groups of words in the form of a punctuating interval, while in the cube they call attention to the necessary structuring/shaping of our view of reality. While the space signalizes meaning, they don┤t show it, or make it legible, in the same way that a window merely implies a view. It┤ probable that the viewer (not the reader) receives an intimation of the "communication" underlying the grid. In other words we encounter a tuned space, the mood created by voices from the "depth" of a thought. (Marc Ries)

 

 
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