BLOG POST: Reading + Response: Kinetics and Electronics



Faraday's Garden - I'm fascinated by specific aspects of history, environment creation, and interactivity of Hoberman's Faraday's Garden. His usage of obsolescent technology offers a level of familiarity and nostalgia with the objects, by interacting with these objects demonstrating how we forget or devalue technology of the past. The simulation of life through inanimate objects is created by the noise and movement of these appliances, creating a lively and noisy environment the encapsulates and engages the audience. Aspects of interactivity appear very simple in nature, move and the appliance turns on, but scale like in a lot of works help create a level of submissiveness the size of the works is what creates the environment. If it were to have say 5 appliances it wouldn't have the same level of complexity as the finalized work has. 
This work could easily be translated to a contemporary means as consumer culture and electronics has amplified as the objects have become less about functional advancement and more about the latest and greatest, but with new advancements, we are also looking to the past for new inspiration like foldable OLED displays for the subtle return to the clamshell phones of the mid-late 2000s. 

Paul DeMarinis -  http://pauldemarinis.org/ 


Tympanic Alley (2015) - I'm Interested in the distortion of technological function to create something eerily natural. By disrupting the flow of electricity to the loudspeaker DeMarinis creates a soundscape by clicking and popping the speakers making an audio immersive environment that subjects the audience to a harsh uncanny rain.  This collaboration between distortion of technology and an atmospheric space emulates a natural environment despite being completely artificial. This is relevant to my practice because of simulation and false reality relating to how environments can allude to conceptual thinking. This would relate in regards to false news, and misinformation, as concepts in my practice. 

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