Architectures of the Internet: On Practices of Digital Care
Centre for Curating the Arts
Michaelis School of Arts
2025
Exhibition photo book
Centre for Curating the Arts
Michaelis School of Arts
2025
Exhibition photo book
audience is greeted by a kitcshy welcome table. the dead roses and candle holder with no candles are a materialisation of the kitschy gifs one would find on GIFcities. the table meterialises the welcome page of a personal website made in 2009
glowing table draws aduence to table like a moth, encourages the audeince to give a part of them in exchange for a gift before beginning their internet pilgrimage
audience takes an offering from me, a crystal heart, and offers me a gift in exchange, in showing their cameras to scan a QR code that prompts them to share an image or meme with me
a poem from reddit printed on tracing paper is suspened on a lace sheet- a represntation of the ever-flowing, never ending algorithmic feed. the meme comments on the shift of consumer behaviour towards using devices as primary entertainment and productivity hubs, demanding larger batteries, better cameras, and more immersive screens, even when smaller screens are technically feasible
a promt to touch the machine, the keyboard. a reminder that you live on the physical plane and so does your computer
the never-ending algorithmic feed curtain. 1mx5m lace sheet suspended from ceiling by hooks
the metadata of images from my are.na revealed through are.na’s reverse image search. off of the narrative that the image is a visible copy of the invisible (its metadata), a byzantine, image of sorts, a visible representation of an invisible god, i reveal the metadata of the image through are.na’s reverse image function. the images with their metadata are printed on tracing paper amd rice paper. the printer struggles with the paper.
the printer catches the 35 gsm tracingpaper and an accordion fold forms. metal clamps and nails are used to display the damaged image. the white string of lace
is used to emphasise the paper’s sculptural quality.
an interactive visual is projected behind in-progress anthotypes and a ‘pepper’s ghost’ hologram (far left).the interactive visual is a live feed of the room, recorded from the webcam of iMac that stands beneath the interactive sculpture. the footage is converted into a point cloud and bloomed through touchdesigner. the touchdesigner workspace is exposed as part of the output taht is projected onto the wall in attempts to reveal the god behind the simulation.
an interactive sculpture. frame suspended from wall made of spray painted pine wood and wrapped in white tulle, arduino uno micro controllers, lace string and beads are tied around potentiometers and work as handles. a 2020 iMac with a generic keyboard and mouse. the micro controllers pick up signals from the the visitor as they pull on the lace strings in 2 directions. the voltage from the signal is sent to touchdesigner to generate visuals (left on iMac screen). the signals are routed through touchdesigner to vcv rack to create generative music manipulate the speed, pitch, loop time and of a modular synthesiser patch (right on iMac screen).