The Skinning of Memory (VP2) / 2010
Machine and human have begun to fold onto each other. In turn, this has created what I refer to as a ‘second skin’.
The Written Word
Project-X Installation Series (2006-2008)
The possibility exists for the merging of technology and art, so that the artist and observer both interact within the event, and/or in the creation of the art object.
The Skinning of Memory: Vertebrae, Part 2 (VP2) Influences
(I) wanted something other than what I could make myself and I wanted to use the surprise and the collectiveness and the generosity of finding surprises. And if it wasn’t a surprise at first, by the time I got through with it, it was. So the object itself was changed by its context and therefore it became a new thing” Rauschenberg
The Skinning of Memory: (VP2) – The Medium of Television
” …the real is produced from miniaturized cells, matrices, and memory banks, models of control – and it can be reproduced an indefinite number of times from these. It no longer needs to be rational, because it no longer measures itself against either an ideal or negative instance. It is no longer anything but operational.” (Jean Baudrillard)
The Skinning of Memory: (VP2) – Objects
In a culture like ours, long accustomed to splitting and dividing all things as a means of control, it is sometimes a bit of a shock to be reminded that, in operational and practical terms, the medium is the message.
The Skinning of Memory: Vertebrae, Part 2 (VP2) – Memories
nt for surveying the past but its theater. It is the medium of past experience, just as the earth is the medium in which dead cities lie buried. He who seeks to approach his own buried past must conduct himself like a man digging”. (Walter Benjamin)
The Skinning of Memory: Up Close and Personal
In photography, we see nothing. Only the lens ‘sees’ things. But the lens is hidden. It is not the Other, which catches the photographer’s eye, but rather what’s left of the Other when the photographer is absent (quand lui n’est pas la)” (Baudrillard.)*
The Skinning of Memory: Mediating The Real
TThe ‘collapse’ of memory I use as a metaphor for the collapse of the certainties of the past by a media that can paradoxically create and recreate an apparently certain past through their command of visual images, which are both part of the landscape of modern life and the very essence of human memory. (A. Hoskins)
The Reorganization of Memory
The introduction of digital technology shifted the way memory imprints were stored and accessed.