Hybrid Worlds: Nano_Biotech + Art


Dissolving Surfaces
               2010
           Mauricio Herrero
             MFA F...
Abstract
•   Dissolving Surfaces approaches micro and macro
    relations, from biological to virtual to architectural
   ...
Concept/Topic
•   The initial sources that I have been working from are internal views of
    the venom glands of wasps. T...
Context/Precedents
•             “No more mirror of being and appearances, of the real and its concept; no more imaginary
...
Context/Precedents




•   Aziz + Cucher, Synaptic Bliss, http://www.azizcucher.net/synaptic.php
Project Proposal 1
• Working form microscopic images of
                     living organisms
•   The initial source image...
Project Proposal 2
•   I began exploring these images and manipulating them through the
    computer.
Project Proposal 3
•                     Stretching The Pixel
•   After beginning to work with images of molecular structu...
Project Proposal 4
•   Whatever the original source image was, and independently of its origin, it is now
    untraceable,...
Project Proposal 5
•   Into Architectural Space
•   The dissolved structure of the virtual image will then be translated i...
Project Proposal 6
•          Prototypes
Project Proposal 7
•          Prototypes
Conclusion/Discussion
•   Dissolving Surfaces emerges from the architecture of life at the
    molecular level, to the arc...
Bibliography
•   Aziz + Cucher (2010). Genetics and Culture. Recuperated 5-12-2010.
    (http://www.viewingspace.com/genet...
•   Foucault, Michael (2002) Of Other Spaces, in: Mirzoeff, Nicholas
    editor (2002). The Visual Culture Reader, Second ...
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  • Mauricio Herrero, Dissolving Surfaces, Hybrid Worlds

    1. 1. Hybrid Worlds: Nano_Biotech + Art Dissolving Surfaces 2010 Mauricio Herrero MFA Fine Arts Prof. Victoria Vesna
    2. 2. Abstract • Dissolving Surfaces approaches micro and macro relations, from biological to virtual to architectural worlds. The initial sources materials are images of microscopic views of the insides of living organisms. These landscapes are then reconfigured within virtual realms. From molecules to pixels, the structure of the image is dissolved through expansion, revealing the insides of the digital surface. These biomorphed virtual worlds then take physical form through architecture, proposing a dematerialization of the constructed world.
    3. 3. Concept/Topic • The initial sources that I have been working from are internal views of the venom glands of wasps. The graphic mutation that these images undergo is not biological but computational. There is a coded translation or simulation, from the structure of the biological to the structure of the digital as graphic information. The digital manipulation of the image is in turn, executed through a microscopic zooming, where its pixels are then expanded thousands of times their initial size. In this way there is an analogy between the origin of the images and their virtual end, through the way that they are mediated and engendered. The final step consists in converting the images into three dimensional architectural space. The constructed environment then becomes this virtual molecular transformation, blurring oppositions between naturally and artificially constructed worlds.
    4. 4. Context/Precedents • “No more mirror of being and appearances, of the real and its concept; no more imaginary coextensivity; rather, genetic miniaturization is the dimension of simulation. The real is produced from miniaturized units, from matrices, memory banks and command models - and with these it can be reproduced an indefinite number of times.” Jean Baudrillard • In Simulacra and Simulations, Jean Baudrillard speaks of simulation as producing a hyperreal order. This simulation does not mimic an external preexisting reality but rather it models and engenders the real, through itself. The Simulacrum precedes the real. In any case, the distance between the two has collapsed. This collapsing of distance can also be seen as erasing the boundaries between the representational and the concrete and, between the natural and the artificial. This is because we live in a world where they overlap and permeate each other. This is the world of nuclear manipulation, genetics, bioengineering and virtual reality. • The artist Anthony Aziz has addressed these issues of collapsing distance: "Reality (Nature) and Metaphor generate each other, then supersede each other to be created anew" (http:// www.viewingspace.com/genetics_culture/pages_genetics_culture/gc_w02/gc_w02_aziz%2Bcucher.htm). In this sense it is not about which precedes which (culture/nature, reality/representation) but rather a mutual reshaping of the other. By this mutual reshaping the division of such categories is dissolved not just metaphorically, as an abstraction, but physically and subatomically. Anthony Aziz collaborated with Sammy Cucher in a series of works which began in 2003, titled Synaptic Bliss. This series is particularly relevant to this project (Dissolving Surfaces) as it deals with microscopic life, micro/macro relations, the body and the environment, and the organic and the artificial. This is done through what they call a “digital consciousness”, engaging with scale, space and architecture.
    5. 5. Context/Precedents • Aziz + Cucher, Synaptic Bliss, http://www.azizcucher.net/synaptic.php
    6. 6. Project Proposal 1 • Working form microscopic images of living organisms • The initial source images belong to the Biologist Félix Castellanos, who authorized me to use them in my work. He never viewed them as art, but rather as documentation material for his own scientific research. The images are taken from the insides of the venom glands of wasps.
    7. 7. Project Proposal 2 • I began exploring these images and manipulating them through the computer.
    8. 8. Project Proposal 3 • Stretching The Pixel • After beginning to work with images of molecular structures, it occurred to me to start working with the digital structure of the image at its molecular level, that is, at the level of the pixel. • I do this through the computer, zooming into the grid where every individual pixel becomes visible. This reveals the inside of the image, that which lies beneath or beyond the surface yet never leaves it. Each pixel within the grid is codified by combinations of zeros and ones. When the graphic depiction of a pixel on the screen is expanded and stretched thousands of times, the initial pixel is no longer one but now contains thousands in itself. This means that the machine must interpret the missing information for the transformation to occur. The hard edges of the once structural and basic component are now dissolved and become soft and organic. The grid loses its rigidity and is now a permeated dissolution of the initial configuration.
    9. 9. Project Proposal 4 • Whatever the original source image was, and independently of its origin, it is now untraceable, undecipherable, the outcome of a graphic mutation. The relation to the initial image lies in its mediation and transformation, not in its actual content or visual representation.
    10. 10. Project Proposal 5 • Into Architectural Space • The dissolved structure of the virtual image will then be translated into the structure of physical space. The images will be printed through different methods. Sizes and formats will depend on the specificity of the site or sites of their installation. The aim is that the image will become the architecture and vice versa. This semester I used my studio to try out some prototypes of these ideas. I see these conceptual exercises as having the potential to develop into different scales, spaces and contexts.
    11. 11. Project Proposal 6 • Prototypes
    12. 12. Project Proposal 7 • Prototypes
    13. 13. Conclusion/Discussion • Dissolving Surfaces emerges from the architecture of life at the molecular level, to the architecture of the image at the level of the pixel into three dimensional architectural space. This proposal acts as a conceptual framework from which to expand. This project will continue developing, permeating structures, dissolving surfaces and dematerializing architecture. The specific initial source materials may change as well the work´s means of execution and final display, as it adapts and becomes specific to different sites. This is something that I will continue to explore. • Additionally, having worked from the biological, to the virtual, to the constructed environment, a reversal of such relations is also conceivable, as well as any possible alternation of their combinations.
    14. 14. Bibliography • Aziz + Cucher (2010). Genetics and Culture. Recuperated 5-12-2010. (http://www.viewingspace.com/genetics_culture/ pages_genetics_culture/gc_w02/gc_w02_aziz%2Bcucher.htm) • Aziz + Cucher (2010). Synaptic Bliss. Recuperated 5-12-2010. (http:// www.azizcucher.net/synaptic.php) • Baudrillard, Jean (2002). Simulacra and Simulations, in: Mirzoeff, Nicholas editor (2002). The Visual Culture Reader, Second Edition, London and New York: Routledge. • Coldwell, Paul (2010). Profesor Paul Coldwell, Current Reaserch – Artist Statement. Recuperated 3-25-2010. (http// www.camberwell.arts.ac.uk/24539.htm) • Dietrich, Frank (2010) The Computer: A Tool for Thought-Experiments Recuperated 3-25-2010. (http://dam.org/essays/dietrich02.htm)
    15. 15. • Foucault, Michael (2002) Of Other Spaces, in: Mirzoeff, Nicholas editor (2002). The Visual Culture Reader, Second Edition, London and New York: Routledge. • Krauss, Rosalind (2010). Sculpture in the Expanded Field. Recuperated 3-25-2010 (http://www.situations.org.uk/_uploaded_pdfs/ Krauss.pdf) • Mirzoeff, Nicholas editor (2002). The Visual Culture Reader, Second Edition, London and and New York: Routledge. • Saunders, Gill y Rosie, Miles (2006). Prints Now, Directions and Definitions, London: V&A Publications. Stangos, • Zapett, Adriana, (1998) Arte Digital, México: Colección Punto de Fuga, CONACULTA.

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