About
We postulate that an existential volume is equivalent to its echoes.
The 181 uses digital technology to create new existential and perceptual architectures from hybridized, recycled, generalized volumes of information. From a conceptual scaffolding of quantum information theory we approach computer networks, cameras, projectors, reflectors, beam-splitters, electro-mechanical devices, and sensors as raw materials.
Situations generating experiential spaces that expand, contract, or reassemble as information sloshes about. Imperfect approximations of the universe as a whole.
We are (at various times) one visual artist, one biologist/mushroom forager, one noise artist, and one physicist/electronic engineer.
Our compositions are webcast; these webcasts are simultaneously brought back into the compositions (projected, reflected, infected). The present is ever permeated by repercussions and the experiential architecture thus created seems a time-space dominated by moving mirrors of various sizes, shapes, and velocities—a circling cycling revisioning architecture. It is well-known that symmetry on a plane suggests volume to the mind, but we are nevertheless surprised that even the oddest, unnatural, un-anticipatable symmetries communicate volume.
The 181 uses digital technology to create new existential and perceptual architectures from hybridized, recycled, generalized volumes of information. From a conceptual scaffolding of quantum information theory we approach computer networks, cameras, projectors, reflectors, beam-splitters, electro-mechanical devices, and sensors as raw materials.
Situations generating experiential spaces that expand, contract, or reassemble as information sloshes about. Imperfect approximations of the universe as a whole.
We are (at various times) one visual artist, one biologist/mushroom forager, one noise artist, and one physicist/electronic engineer.
Our compositions are webcast; these webcasts are simultaneously brought back into the compositions (projected, reflected, infected). The present is ever permeated by repercussions and the experiential architecture thus created seems a time-space dominated by moving mirrors of various sizes, shapes, and velocities—a circling cycling revisioning architecture. It is well-known that symmetry on a plane suggests volume to the mind, but we are nevertheless surprised that even the oddest, unnatural, un-anticipatable symmetries communicate volume.
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Categories
- PERFORMANCES
About
We postulate that an existential volume is equivalent to its echoes.
The 181 uses digital technology to create new existential and perceptual architectures from hybridized, recycled, generalized volumes of information. From a conceptual scaffolding of quantum information theory we approach computer networks, cameras, projectors, reflectors, beam-splitters, electro-mechanical devices, and sensors as raw materials.
Situations generating experiential spaces that expand, contract, or reassemble as information sloshes about. Imperfect approximations of the universe as a whole.
We are (at various times) one visual artist, one biologist/mushroom forager, one noise artist, and one physicist/electronic engineer.
Our compositions are webcast; these webcasts are simultaneously brought back into the compositions (projected, reflected, infected). The present is ever permeated by repercussions and the experiential architecture thus created seems a time-space dominated by moving mirrors of various sizes, shapes, and velocities—a circling cycling revisioning architecture. It is well-known that symmetry on a plane suggests volume to the mind, but we are nevertheless surprised that even the oddest, unnatural, un-anticipatable symmetries communicate volume.
The 181 uses digital technology to create new existential and perceptual architectures from hybridized, recycled, generalized volumes of information. From a conceptual scaffolding of quantum information theory we approach computer networks, cameras, projectors, reflectors, beam-splitters, electro-mechanical devices, and sensors as raw materials.
Situations generating experiential spaces that expand, contract, or reassemble as information sloshes about. Imperfect approximations of the universe as a whole.
We are (at various times) one visual artist, one biologist/mushroom forager, one noise artist, and one physicist/electronic engineer.
Our compositions are webcast; these webcasts are simultaneously brought back into the compositions (projected, reflected, infected). The present is ever permeated by repercussions and the experiential architecture thus created seems a time-space dominated by moving mirrors of various sizes, shapes, and velocities—a circling cycling revisioning architecture. It is well-known that symmetry on a plane suggests volume to the mind, but we are nevertheless surprised that even the oddest, unnatural, un-anticipatable symmetries communicate volume.
Author
United States Eugene
Performances
the like of this bell there is not in this world
full 181
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