| sexy curves revisited||June 2003 Bienal de Valencia, Spain|
sexy curves is an art project that puts in its centre specific forms of graphic representations of reality: the globally operating and encoded data streams that communicate informations of economic, political and social value as well as individual life-rhythms.
These data curves visually represent two worlds that are familiar to all of us: the rhythm of the beating heart and the fluctuating charts of market quotations. Both graphs are projected onto semi-transparent glass panels and form a tableau of ecriture automatique of information technology. On their way the projections impinge upon the visitors: thus they become visible in space, creating moving sculptures in more than one respect: moving patterns on moving visitors as moving monitors.
This ecriture automatique reveals itself today as a symbolic language below our visual apperception that nonetheless is leveraged incessantly as one of the main devices of constructing reality. These encoded waves that unswervingly and checklessly shoot around and through us as information patterns of a miniature size only comparable to molecules, cells, atoms, form the matrix and the munition, the designo (to use a term from the renaissance) for the forming, the "Gestaltwerdung" of social, cultural and especially economical reality.
In the atmospheric space that looks empty and only seems to be filled with the air we breath, a plane for another extension of the human being develops. It is going to become his medium of communication, his workspace of concentrated languages. Sexy curves live coverage of these "always now" happening actualities, mirrors and accentuates the penetration of these systems into their "world" in form of a kinetic-social sculpture: the blood circulation as the life giving and preserving system of (human) organisms and the thorough penetration of the financial/economic system into our individual and social reality.
In the installation a dual sound transmission leads
this theme vividly into a real time flow of "music": the audio
live feed of one of the worlds largest trading floors, the Standard
& Poors 500 index and the even intense sound of an ultrasonic
heart recording acoustically meet, mix, and move around each other.
But the interaction and cross-fading of the visible and audible informations in sexy curves mirrors a more and more disturbed interaction that nowadays starts to resemble what in economy is called an unfriendly take over. The sheer power that economic forces exert on the social and individual arena may be percieved in the experience of the penetrating sounds and visuals of the financial market and the heart rythem.
Man becomes the backbone of an aesthetics of automation as he/she is more and more interpreted as a pack of data among other packs of data that may systematically be controlled. The "real" is not invented, found or concieved, it actually happens inside encoded sequencies. It has been atomised. On our plane of perception it appears as virtual, fluid. If one is to take serious Paul Virilios redefinition of Marshall McLuhans famous formula "the media is the message" into "it is not the medium that is the message, but merely the velocity of the medium"1), one might look at the "information system blood circuit" as mere background noise, as a secondary code that might simply disappear from apperception one dayand with it its bearer.
From a "Culture of ersatz"2) this path then might lead on to a time of "enlitement" in which "Aufklärung"the german term is refering to the Enlightenment era as well as to intelligence will serve as information resourcing to systems of surveillance and automation. By then, the "Enlightenment" project, as defined by Immanuel Kant3), will have been reduced to absurdity. And branded man, misled to loose his conscious awareness, will live (again) in subordinationas an object to a sovereign system.
1) Paul Virilio, The Information Bomb, S.141,
London, New York 2000