TSTST aims to present a new generation of artists who exist at the intersection of art, media, and technology. The organization initiates and develops thematic exhibits and research-based projects. Using online and temporary anti-squat spaces within the city of Rotterdam [The Netherlands] TSTST operates as a nomadic platform.

Foundation TSTST is founded by Jeanine Verloop, Sanne Schilder, Caio Vita, Jochem Walboomers & Jeroen Rijnart.

✚ Erased Dots and Rotten Dashes, or How to Wire Your Head for a Preservation.

Paul deMarinis

Seeing machines is an expansive definition of photography. It is intended to encompass the myriad ways that not only humans use technology to “see” the world, but the ways machines see the world for other machines. – Trevor Paglen

Summary interview by Max van Rooy.
"Art and science are not for the laity." 1978.

Peter Struycken is a visual artist and uses precise aids such as computers and computer-controlled color television. Pieter Padmos is a physicist, affiliated with the Institute for Sensory Physiology T.N.O. in Soesterberg and investigates with the same exact equipment in the operations of the eye. They both conduct basic research from which practical applications arise. Despite the different objectives, their figurative areas of work are overlapping.

Padmos's research aims to learn as much as possible about the way in which light enters the eye and ultimately leads to a sensation via the retina. He assesses this by means of electrical measurements on the eye or brain. Struycken searches for diverse constellations of colors. And produces the differences, it is his assessment as an artist that indicates what is different. He wants to present color in such a way that form and movement aspects are subordinated to the color experience.

Caption: art from calculation, Kunstschrift 22nd year 1978: Peter Struycken 'Kleur: standaard', 1978 (detail). With the help of computer and color television, Peter Strucken is better than before with paint and brush able to achieve his goal of 'showing kinds of color differences'. He can show 256 different color nuances per program. First he gives the computer a sine curve for each three color components (for TV these are red, green and blue). With this he determines the gradient and the speed of each color between 0 (black) and 100% (the maximum intensity) (see images below). By varying the course of the sine for each of the three colors, a varied overall picture is created. But this is only an inventory of the colors. The final presentation can be done by means of different programs: small blocks, large areas, squiggly lines. In all cases, the screen is slowly 'filled in' until a certain 'color structure' is created. The image on the right is a photo of part of the TV image, deliberately made out of focus by Struycken to emphasize the color and not let the shape be a distracting factor.

The new media and technologies by which we amplify and extend ourselves constitute huge collective surgery carried out on the social body with complete disregard for antiseptics. If the operations are needed, the inevitability of infecting the whole system during the operation has to be considered. For in operating society with a new technology, it is not the incised area that is most affected. The area of impact and incision is numb. It is the entire system that is changed. The effect of radio is visual, the effect of the photo is auditory. Each new impact shifts the ratios among all the senses. What we seek today is either a means of controlling these shifts in the sense-ratios of the psychic and social outlook, or the means of avoiding them altogether. To have a disease without its symptoms is to be immune. No society has ever known enough about its actions to have developed immunity to its new extension of technologies. Today we have begun to senso that art may be able to provide such immunity.

In the history of human culture there is no example of a conscious adjustment of the various factors of personal and social life to new extensions except in the puny and peripheral efforts of the artist. The artist picks up the message of cultural and technological challenge decades before it’s transforming impact occurs. He then builds models or Noah’s arks for facing the change that is at hand. “The war of 1870 need never have been fought had people read my Sentimental Education,” said Gustave Flaubert.

It is in this aspect of new art that Kenneth Galbraith recommends the careful study of businessmen who want to say in business. For in the electric age there is no longer any sense in telling about hta artist’s being ahead of his time. Our technology is, als, ahead of its time, if we reckon the ability to recognize it for what it is. To prevent undue wreckage in society, the artist tends now to move from the ivory tower to the control tower of society. Just as higher education is no longer a frill or luxury but a stark need of production and operational design in the electric age, so the artist is indispensable in the shaping and analysis and understanding of the life forms, and structures created by electric technology.

The percussed victims of the new technology have invariably, muttered cliches about the impracticality of artists and their fanciful preferences. But in the past century this has come to be generally acknowledged that, in the world of Wyndham Lewis, “The artist is always engaged in writing in detailed history of the future because he is the only person aware of the nature of the present.” Knowledge of this simple fact is now needed for human survival. The availability of the artist to sidestep the bully blow of new technology of any age, and to parry such violence with full awareness, is age-old. Equally age-old is the inability of the percussed victims, who cannot sidestep the new violence, to recognize their need of the artist. To reward and to make celebrities of artist can, also, be a way of ignoring their prophetic work, and preventing it’s timely use for survival. The artist is the man in any field, scientific of humanistic, who grasps the implications of his actions and of new knowledge in his own time. He is the man of integral awareness.

The artist can correct the sense ratios before the blow of the new technology has numbed conscious procedures. He can correct them before numbness and subliminal groping and reaction begin. If this is true, how is it possible to present the matter to those who are in a position to do something about it? If there was even a remote likelihood of the analysis being true, it would warrant a global armistice and period of stocktaking. If it is true that the artist possesses the means of anticipating and avoiding the consequences of technological trauma, then what are we to think of the world of bureaucracy of “art appreciation”? Would if not seem suddenly to be a conspiracy to make the artist a frill, a fribble, or a Milltown? If men were able to be convinced that art is precise advance knowledge of how to cope with psychic and social consequences of the next technology, would they all become artists? Or would then begin a careful translation of new art forms into social navigation charts? I am curious to know what would happen if art were suddenly seen for that it is, namely, exact information of how to rearrange one’s psyche in order to anticipate the next blow from our own extended faculties. Would we, then, cause to look at works of art as and explored might regard the gold and gems used as the ornaments of simple non literates?

Input: The first surviving photo of the sun by Léon Foucault en Hippolyte Fizeau (1845)

✚ Marshall McLuhan
Understanding Media

Challenge and collapse
The nemesis of Creativity

Chapter 7
pag 69-72

Output:
1. Chambered nautilus 0.239239849238
2. Golf ball 0.2392398492384
3. Tick 0.2392398492384

Human beings create tools and in so doing take themselves as the model for this creation - until the situation is reversed and human beings take their tools as the model of themselves, of the world and of society. Hence the wellknown process of alienation from one's own tools. In the eighteenth century, human beings invented machines, and their own bodies served as a model for this invention - until the relationship was reversed and the machines started to serve as models of human beings, of the world and of society.

Villém Flusser, Toward Philosophy of photography 1983 - p.78

✚ September '78 22nd volume number 3
Public art collection
Art from Calculation

Interfaces between art, science and technology.

Kees Broos

Eadweard Muybridge, Sallie Gardner at a Gallop (The Horse in Motion) 1877: A pioneer of science and art.

We can make a very rough classification of the material and distinguish a few categories:
a) Art as an illustration of science and technology;
b) Art that makes use of scientific ideas and technical possibilities;
c) Art that provides commentary on science and technology;
d) Art that coincides with science and art as a form of research;
e) Science and technology seen as art.

Art visualizes
If there had been no artists, we would have known a lot less about medieval technology. Now we can learn from miniatures what windmills and waterwheels, spinning wheels, looms and sewers and bells looked like, how plowing was done, how locks, water pipes and sewers worked. Only recently we were made aware of how exactly Pieter Bruegel the Elder has depicted techniques, hoists and cranes in his paintings of 16th century architectural constructions and how the state of medical knowledge can be read in his work.

This illustrative aspect of the visual arts became truly functional when science ceased to be a closed, secrative activity and was opened up by the printing press. After the first technical and medical illustrations in the fifteenth century, in Valerius 'De re militari' (1472) and Ketham's 'Fasciculo di Medicina' (1493), the artist's role as a visualization of scientific knowledge grows. Without the contributions of woodcarvers and copper engravings, botanical and zoological knowledge was less easy to transfer - in a next article, Carla Oldenburger will talk about the role of botanical illustration. Geography flourished in the Netherlands through the fusion of science and art in the cartographic masterpieces of Ortelius, Mercator and Blaeu.

The natural tracts of Simon Stevin and Christiaan Huygens were clearly illuminated, as were the medical-anatomical works of Pieter Paauw and Nicolaas Tulp [. Scientific and popular scientific illustration grew into a specialty, culminating in the Encyclopédie of Diderot and d'Alembert (1751-1780), which contained 12 plates in addition to 21 volumes of text. Although the 19th century wood engravings from physics books evoke an atmosphere of their own, they seem to be left to experienced able-bodied people. Inventive artists were no longer concerned with it. A single exception; Otto Neurath and Gerd Arntz designed around 1930 image statistics, a crystal-clear, graphic visualization of facts in the socio-economic field, the result of close collaboration between scientists and artists.(2) A very different example is the use of the prints of M. C. Escher as illustrations in textbooks for mathematics and chemistry. Although the prints were initially made as independent works of art, Escher was pleasantly surprised by the extra return they had in this way. Only recently, especially from the circles of graphic designers, attention has been drawn to the much greater contribution that the 'visual specialists' of our time could have in the transfer of knowledge in every field.

Art uses science and technology
We noticed that every art form involved a certain level of science and engineering. It does, of course, make a difference whether an artist applied ancient, simple techniques at a certain point in time, or whether he mastered the latest insights in those areas. However, the latter was done eagerly: the teaching of the correct perspective, later the use of the camera obscura, the application of anatomical knowledge, the design according to the golden ratio, the processing of Newton's color theory. Frederik van der Blij indicates in his article how mathematics has given art a helping hand (page 124). All things that were beneficial for art, the result only became more interesting, illusionistic. Moreover, the words "art" and "science" did not have such different meanings until the 19th century. Only then will the use of technical aids by artists become problematic.

A good example is photography, which applies chemical and physical principles for the purpose of capturing images. The fact that a technical device had to be used to take a photo was sufficient proof that there was no question of art. The dispute about 'art' and 'technology' ran high, without much meaningful result. It has been overlooked, that "the loom, the harpsichord and the printing press represent as many mechanizations of the simpler basic process (braiding, playing the lute, writing), without questioning the possibility of an aesthetically significant achievement for that reason", according to art historian H. van de Waal.

Still, artists like Delacroix and Degas were so intimidated by this anti-technical sentiment that they preferred to keep their own use of photography a secret. In recent years, doubts about photography have disappeared with increasing speed: from historical curiosities photos have become coveted collectibles, even in museums. the artist is free to use any piece of science or technology. Another thing is that expectations have sometimes been too high. After all, the application of the latest techniques alone does not guarantee the creation of art. Even the computer does not automatically deliver convincing computer art.

Art provides commentary on science
When Holbein paints the portrait of Nicolaus Kratzer, Henry VIII's astronomer, he seems to have no difficulty whatsoever in depicting the display of instruments belonging to his profession. You have the impression that Holbein shared knowledge and interest with the person portrayed. In subsequent centuries the men of science were portrayed as naturally useful members of society: like Nicolaes Tulp by Rembrandt, special interest in their style seems less with the painter. We find criticism of the social consequences of technology during the industrial revolution, in England, where the blessings of technology are also lyrically interpreted at the same time. With the sometimes uncritical embrace of science in the 1920s, there are artists who unleash their irony on it, and that does not seem out of ignorance or silliness. it resembles an 'other' technique: starting from an impossible, absurd starting point, a play on words, a dream image and further developing it according to true straight logical lines, working according to the rules. Marcel Duchamp, Picabia and Man Ray did it with great ingenuity and pleasure.

In the Netherlands, Constant designed his New Babylon, fantastic but technically feasible housing projects, which paint a picture of what could be possible, provided utopian social conditions were met. Panamarenko designs the most unlikely flying devices, which, according to conclusive reasoning, should take to the skies. Also on the ground they remain beautiful paraphrases of the technical world of shapes. (3)

Art as a form of research
It was not until the seventeenth century that the word 'art' gained meaning in the sense of 'painting', 'drawing', 'sculpture'. Previously, it also included music, geometry, astronomy and grammar. It was not unusual for Leonardo da Vinci to deal with anatomy, time measurement, music, mechanics and fortifications as well as painting. His artistic colleagues Piero della Francesca, Leon Battista Alberti, Paolo Uccello and Albrecht Dürer were equally curious about how the world worked. The rediscovery in 1965 of a large number of Leonardo's scientific drawings further enhanced his status as a scientist. The widely held twentieth-century view that art would be 'something completely different' from science, in any case, did not apply here. take the drawings Leonardo made of water waves (6). At first sight beautiful impressions of foaming water masses, but on closer inspection very exact studies of water movements. The artistic and scientific method coincide perfectly; without losing its fascination, nature exposes its laws.

[LINK](Journal) opens up conversations with individuals and forward thinkers working towards change. It is a fertile ground for discussion, addressing the following topics;

– Materiality of digital systems
– Exchanges of information mediated by the physical environment
– Transparency of processes within creative project development
– Embodied methodologies of digital environments

The journal is exploring these topics through the design discipline; speaking directly to how design and creative practitioners are intertwined within digital and ecological interactions.

It connects the dots, making links in-between the signs, words, lines and pages of this book. What is a book but a body of symmetries, ink on paper, bound together with string, connecting narratives, connecting materials, and connecting the in betweens? The journal hence serves as a conceptual and practice-based space on how we can reflect on our relationship, with dominant narratives of 2020.

LINK’s Key Values are

[Experimental]
LINK is experimental, purposefully meandering. It is a space to bridge ideas, generate new thoughts, engage in conversations and reflect on those intricate connections easily overlooked amidst the process of creation.

[Open]
With the aim of making our thought process an open book, we communicate the design process with total transparency for the readers to gain a holistic understanding of how this medium is explored.

[Design-Led]
Design today can be a process, a methodology, or a language, with the mission to translate information and communicate knowledge to society. It will make a projection of tomorrow’s in-between spaces by sharing emerging topics within the areas of design practice and material futures.

[States of Matter]
The ancient Greeks translated the natural science of physics as “knowledge of nature”, it studies matter, its motion, and behaviour in relation to space and time. The ‘state’ of an element refers to the structure and form of its materiality within a specific moment in time. It is a temporal mode of existence, with the power to radically transform, when introduced to a new environment.

Hence, the state of the particles that make up one matter is not the same as another. In the same way that physics studies matter, this first issue analyses the nature of information and its physical embodiment through the lens of creative disciplines. States of Matter explores the changing materialities of digital systems and the impact of the interdependency between physical and digital spaces.

It questions the possibilities for what is matter, with the aim to provoke our current understandings, progress these concept between now and the future. Is matter a form of energy? Can we hold it? Can we interact with it? How can we further unpack the definitions of matter?

E-books as we know them tend to follow the standards formed by the history of the codex over the course of hundreds of years. They
function like paper books but in digital form, with a cover, a half title page, and then starting on the first page with a table of contents or an introduction. Why should it be that way? As we know, the medium is the message. Couldn’t the digital book be put to work to foster a different message?

New habits and societal demands translate into new forms and styles of writing and publishing, writes Amaranth Borsuk in The Book. Our age of ubiquitous media has confronted us with such new habits and demands. How can the book as a form respond? As Caleb Everett writes in Working on Our Thoughts: ‘The electronic book – as represented by the prevailing format, the EPUB – is not only a vessel for text and images but a set of rules that determine how to edit, design, and read.’ How then to develop a rule set that caters to a different way of writing and publishing, truly applying the options that digital technology has to offer? How can digital publishing open up to new styles of writing, editing, or even thinking?

Jean Tinguely, Metamatics

Designing Organs at the Transpecies Society: Hybrid Practices between Cybernetics and Artificial Intelligence

An Infinite Séance 3

Infinite loop, infinite scrolling, numbered days
The WWW started as “pages”—texts to be read, edited, and linked. But, there was hardly ever a time when this analogy really made sense. Every update of the HTML standard, every new version of browser-made content appeared more dynamic, multimedia, “rich,” less paper-like, more like a projection screen. First metaphorically and then more substantially—when we started to open browsers to watch YouTube, Vimeo, Netflix, name yours.

And, even if we don’t take streaming video into account, websites today are largely cinematic. Moving images, soundtracks, special effects, three-dimensional spatiality, and immersion are turning what we once called pages into “wow experiences,” that we know from visiting movie theaters.

When I try to rewind, to untangle this media-hybrid knot to trace the origins of different effects, I’m always happy to see that there are not solely themes borrowed from video games, film, theater, and centuries-old stage magic. The WWW established and kept its own browser-specific traditions of scenography, montage, and stunts.

Although there are numerous texts about the Internet, there are few publications that use spatial interpretation as a tool for socio-political analysis. In his book, “Internet : changer l’espace, changer la société” (Internet changing space, changing the society), Boris Beaude explains that the concrete issues and spatial properties of Internet are linked. He shows that the Internet is a real space and, because spaces shape society, it is the Internet as a new space that we have to consider. The aim of the “Critical Atlas of Internet” is to use spatial analysis as a key to understanding social, political and economic issues on Internet. Here, we seek to discern the shape of the Internet in order to understand the concrete issues and stakes involved.

In the mid-1950s Jean Tinguely began production of a series of generative works titled Métamatics: machines that produced art works. With this series of works Tinguely not only problematised the introduction of the robotic machine as interface in our society, but also questioned the role of the artist, the art work and the viewer. Metamechanics (French méta-mécanique), in relation to art history, describes the kinetic sculpture machines of Jean Tinguely. It is also applied to, and may have its origins in, earlier work of the Dada art movement.

Here and Now? Explorations in Urgent Publishing

DNA Fountain enables a robust and efficient storage architecture

Media archaeology as a transatlantic bridge

Some of the main subjects in these collected essays have obviously been in -
spired by Michel Foucault’s notions of archéologie and l’archive. Both notions,
though, are being used against the background of archaeology and the archive
in the positivistic sense.The author has been academically trained as a historian. Once experienced as the basic agency of source material for historical research,the archive has since turned into a subject of research. Nothing is more deconstructive than the archive itself.

Culture (and its escalations in technological media) is a function of knowledge transfer as well as of storage. A certain traditional European archival aesthetics has been closely connected to notions of secrecy (be it in the Roman Vatican or in Prussia), contrasted with a somewhat more liberal attitude on archives in the United States, where it is imperative that archival institutions actively take care to make their contents accessible and known to the public—a core democratic attitude of our postmodern condition.The media archaeological approach is in fact about the unrevealing of symbols, signals, and information. In the age of technology-driven media, both material archaeological strata and the symbolical order of the archive are progressively being conceived as essentially processual by nature, to be deciphered as operative diagrams—close to what Charles S. Peirce defined as “diagrammatic reasoning.” Humans almost irresistibly relate to images in an iconologic way, to sound in a musical way, and to texts in a hermeneutic way. But there is a kind of knowledge that can instead be uncovered from within the visual, acoustic, or textual endodata: entering the digitized record itself (data immersion), which is the media-archaeological gaze that can be performed by algorithmic machines of information processing better than by human perception.

Am I a man or a machine? There is no ambiguity in the traditional relationship between man and machine: the worker is always, in a way, a stranger to the machine he operates and alienated by it. But al least he retains the precious status of the alienated man. The new technologies, with their new machines, new images, and interactive screens, do not alienate me. Rather, they form an integrated circuit with me.

- J. Baudrillard, "Xerox and Infinity"

In it's pure state it is a motorized block of foam that functions as a fully operational car. Although it is meant to be shaped according to the customer's needs, in its raw state it unintentionally provides a striking anti-image of everything a car design is today.

✚ Marijn Van Der Poll, Modular Car

✚ Plant Fiction, Selfeater (Agava autovora)

✚ YOU ARE THE SOURCE PROJECTION AND REFLECTION
by Sophia Bulgakova

Exhausting a Crowd – Netherlands (2015) brings together our respective fascinations with surveillance and online public commentary. The project is inspired by a 60-page piece of experimental literature by Georges Perec entitled “An Attempt at Exhausting a Place in Paris,” which he wrote on a bench over three days in 1974. In the text, Perec studies the mundane crowd with empirical discipline and takes down notes, brief lists and descriptive reports. Likewise, Kyle McDonald is interested in the actions of random passersby and invites the public to visit the website www.exhaustingacrowd.com to write down their comments on the online surveillance footage streamed there. Unlike a park bench, however, the Web is no place for silent contemplation. In contrast to Perec’s meticulous work, the commentary of an online audience quickly mutates into a distracted haiku. The comments are brief, and the overall result depicts a strange dynamic between personal intention, chaos and serendipity. For the digital native, a taste for surveillance is no longer an ethical issue but rather a source of entertainment.

✚ Exhausting a Crowd

✚ Threads That Speak: How The Inca Used Strings to Communicate

Just as this actually occurs in the movement of sound, it seems likely to me that the eye, when external pressure is applied to it or it self-contract of its own volition, goes into an intimate oscillatory motion mode.

✚ Arseny Avraamov

The Symphony of Industrial Horns

The Symphony of Industrial Horns by Arseny Avraamov was created in 1922 and was performed in Baku in 1922 and Moscow in 1923. The stage of performance is a whole city. The main instruments were industrial horns, horns of fleet and trains, cannon and machine guns, syrens, large choir, aviation and others.

This reconstruction is based on Mandate (1923) by Avraamov and was created by Sergey Khismatov in 2009. Original reconstruction was created for 8 or more channels around audience to imitate sounding surround of city.

Reawaken is a kinetic sculpture that makes prints. 'technology is there to meet our needs.'

✚ Jeanine Verloop, Reawaken

If we, as the Good Book says, are ashes, then digital memory is rust. This is palpable by the almost surreal sensation of latency we endure as we play with our digitalia. It is surreal in the sense that we have become accustomed not to notice it. During the interval while we wait for a file to copy or for an Internet download, we experience a non duration, measured out not in coffee spoons but in accumulated microseconds of denial. Certainly, electrons could travel around the earth millions of times in that interval. So why we wait? Because as data pass trough servers and routers, or from one application to another, they are alternately stored as speed-of-light charge packets in semiconductors, wires, and waves, and then as tiny patches of magnetic flux on iron oxide-coated spinning platters in disk drives- from ether to rust and back again, over and over. Relay, Delay, Memory. In the vast flux of signs going between ether and rust, the moment of transfer from energy to matters is heralded by a click. This primordial sign of passage of meaning from one phase to another was first defined by the click in the telegraphic relay, and it continues to reverberate in the noise of the digital, in the torrents of state transitions between 0s and 1s. It is this noise, and the potential bridge it offers between seeing and hearing, that emerges as the apotheosis of our age.

‘All Colours White’ explores the relationship between what is natural and artificial and the plurality of seemingly indivisible entities and experiences. It consists of a mechanism which projects red, blue and green light onto a canvas sculpture. The projection is a constant loop of 12 minutes. Initially distinct, the colours gradually bleed into each other, creating an intricate spectrum until their collective amalgamation results in pure white light.

In the installation the natural and the digital collide. The specific combination of red, blue and green references the colours that mediate our digital experience, while the composite colour spectrum inherent in white light is intrinsically natural. With a particular interest in temporality, subjective experience and the frameworks through which we perceive the world, ‘All Colours White’ investigates that which coexists but cannot be experienced simultaneously.

✚ Multi Machine Performance,
collaborative experiment at Testsite Meent

The plotter knife replaced by pens and markers draws intricate designs and patterns with machine precision.

The loud mechanic sounds generated by the plotter were picked up by a microphone and fed into a complex audiovisual feedback loop where sound was converted into image using hacked VGA cables and a signal stabilizer.

The resulting signal was fed into the CRT monitor showing abstract RGB visuals that where a direct representation of the plotter sounds.

Zach lieberman lecture about poetic computation

Poetic Software by Alexander Roidl

DIY Bionoise

DIY Bionoise (2018) is an instrument in which the performer can generate sound and control noise, deriving from their own body. The instrument DIY Bionoise contains a circuit that can measure the bioelectricity from living beings to create bionoise. Which can be controlled by tactile sense. As a result, this instrument has two functions; a modular synthesizer with an eight-step sequencer and a bionoise controlled mode. DIY Bionoise is developed from my previous work "Sonomatter" which explored the transformation of bioelectrical energy from soil bacteria to sound. Its design has been based on electronic music devices like modular synthesisers and step sequence.

[MANIFEST]
1.All contemporary art is made in the context of the post-internet era.

2.Power is embedded not only in functioning technologies but also in dysfunctionality.

3.History is not linear, it has not "been". Old technologies lie beneath the surface serving as building blocks for modern developments.

4.Hacking and repurposing old technology is a viable alternative to throwaway consumer culture, planned obsolescence is a sin.

5.With a DIY mentality any space can be utilized in a variety of ways.

6.Art and science (and thus technology) exist in overlapping fields, as they have always done.

7.It is pertinent that technology is critically assessed through art.

8.As with scientists, artists should strive to see the world in new ways, and communicate that vision.

9.A popular saying is that “everything in art has already been done” but through new technology new artistic expressions become possible, so this statement cannot be true.

10.But even so; nothing is made within a vacuum.

✚ THE GAME
Alessandro Baricco

Then, the web appeared as a witness for the defense, stating that nonlinear thinking was precisely what would help us solve a whole range of problems and would give us a remarkable and meaningful experience of the world. Actually, it didn’t really state it. All you had to do was surf the web for a while and it demonstrated its point to you. This shift could not go unobserved, of course. The message was that the side of you that was instinctive, anarchic, or undisciplined was no less valuable in terms of your powers as an explorer than the pathetic navy officer they were trying to train you to be every day at school. With the proviso—and this is the real point—that you accepted that there were other oceans where reality had been duplicated and converted into a different format that was more suited to your mind. This was where you should have gone surfing. In the waters of the otherworld.

The goal of this installation is not to emulate the visual world of a synesthesian person. I would like to present the process of the perception from the viewpoint of a non-synesthesian person. The box is the transit place or space between the reality and the synesthesian‘s world. We, non-synesthesians cannot see the process itself (that is why we don’t see what is in the box), but as soon as the synesthesian person provides us with some non-visual, oral information, we get a chance to experience visually at least some fragments of his/her visions (on the monitor). In this way the installation is similar to an observation zone, but the zone, of course, is the inner world of the synesthesian.

✚ cross senses – Synaesthesia

https://link-journal.com/