Feb '05 - Jan '08
we have moved forward from our own school building to the iconographic medium of the dallas postcard. the postcard is essentially the image of dallas, that which is mailed out to the other locations of the world.
we were tasked with a series of critiques about dallas and how it is utilized/underutilized by the average user. in my case, the robot or technopresence reframes dallas as an interactive playground between man/machine, in addition to the narratives present from machine to machine.
we start by essentially 'rewiring' the urban energies in the downtown area. some redirection and mis-direction can begin to occur.
if the same is done to the suburban area, outlets or clusters begin to manifest themselves.
the city at night becomes somewhat of a feeding ground. the physical evaporation of energy can be witnessed and becomes a spectacle in the street scene.
residents and visitors alike are allowed to participate in larger scale mechanical play assemblies. the scale of pinball shifts from the miniature world to a life sized field of activation.
human and mechanical interactions can sometimes take on a maternal dynamic. we become comforted, allow ourselves to be cradled by the artificial wombs of technology.
perhaps the machines began to project their own iconographic image on dallas. what if they were to construct an artificially intellectualized rendition of the reunion tower?
the robot shopper seeks to enhance even the act of browsing. the meandering path becomes calculated, thus reversing the role of the selector in terms of human preference.
peel back the surface of public art and you will find that robots too, occupy the plaza, the sidewalk cafe, the clock tower, or the department store window.
just as man considers information a basic necessity, or even an addictive drug... the machine feeds off of it and the desire of man. robotic kiosks slowly infiltrate and occupy transitive space, mobile bulletin boards of temptation.
the machine understands capitalism, and thus inserts its armature into the economic fabric. the insinuation could be subtle, nearly undetectable, or forceful and intrusive.
the techno-glitzy parades in front of the historical, sectioning off experience and promoting virtual, remote telepresence. monuments and landmarks can be projected and experienced from any distance.
walk into the coffee shop, the grocery store, or even your neighbors' house, and you will find the 'home version' awaiting use. the mass-produced edition is the signifier of techno invasion.