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Cnicolai Fades.Pdf carsten nicolai fades inside the black box a black box is a space or device in which inner functionality and mechanisms are on the inner process of the black box rather than its outcome. the consequence kept in the dark. the only concern lies in the result of the process between input and is far-reaching on many levels—the results are both perceptive and conceptive in output. bruno latour quotes that »when a machine runs efficiently, when a matter character. of fact is settled, one need focus only on its inputs and outputs and not on its inter- nal complexity. thus, paradoxically, the more science and technology succeed, the entering the room, we first seem to be surrounded by darkness. the only thing per- more opaque and obscure they become«*. this can be interpreted in a more philo- ceivable is a surrounding, high hissing white noise sound that in- and decreases sophical and cultural sense, where accordingly, a process, no matter what content while also changing from side to side of the room. as soon as our eyes get used it may convey, lacks further reflection, promotes indifference, and thereby supports to the light conditions, we slowly become aware of the space that is filled with a ignorance towards its purpose and impact. soft haze of mist. congruent to the sound, a gradually varying projection of light is permeating through the room. the rays of light from the projection form continually in contrast, a work of art establishes manifold new perspectives on processes, fading shapes that constantly change their flow through the haze, thus building up events, and apparent facts that are normally hidden under the surface of everyday a permanently changing light architecture. we are invited to walk through the room experience. by focussing on incidental details of society, the senses of the audience and explore the shapes and structures emanating from the light source. can be sharpened towards particular circumstances. it is thus enabled to look inside the black box of our cultural circumstances. in fades, light and sound are used as source material to establish both a spatial and semiotic vocabulary. one can witness a projection whose content seems cryptic the work fades by carsten nicolai complies to this strategy. it allows a glance into yet suggesting substantial meaning. the light gradients of the projection, derived the black box as it takes place inside of one. the attention of the audience is focused from mathematical processes based on linear and logarithmic wave modulations, indicate a significance that can possibly initiate emphatic understanding. although the installation and examining how the fading light builds columns, canyons and it cannot be interpreted in pure semantics, it can provoke recognition as a mean- textures we can easily destroy and reconstruct by simply screening or releasing the ingful visual language. ray of light—the architecture loses its weight. this experience reveals how easily visual structures can be undermined and unsettled. rené descartes proclaimed that the world and its fundamental principles are based on the universal language of mathematics. in this context, fades may represent a we leave the installation, stimulated by a vague sense that we have been exposed visual template of what this could mean. by using the language of mathematics, to a profound sensation. instead of indifferently follow the outcome of a productive the fading in and out of the light shapes refers to a certain grammar yet remaining process from the outside we have had a look at the conditions of a process inside conceptually abstract. an intellectual gap opens up, creating space for interpreta- of a black box. as a consequence, we might be able to discover what may lead our tion and exploration and thus abandoning the fixations of our cultural heritage. experience to a higher consciousness of the world around. the perceptual effects that result from the light play of fades furthermore culminate daniel klemm in a fictitious spatial solidity that is diffused in constant flux. the temporal dimen- sion of the installation exposes us to a situation, in which we constantly have to reassure our position; we are immersed in a floating space—continuously forced to adjust our coordinates. additionally, we are able to explore our perception of space by wandering through * see latour, bruno: pandora’s hope: essays on the reality of science studies; cambridge/ma, usa 1999 fades still 01 (01_07_09) fades still 02 (01_11_14_6018) fades still 03 (01_17_00_6154) fades still 04 (01_20_08_6229) fades still 05 (01_28_17_6446) fades still 06 (01_36_11_6640) fades still 07 (01_51_02_7006) fades still 08 (02_14_07_7586) fades still 09 (02_46_16_8395) fades still 10 (02_58_03_8681) fades still 11 (03_21_05_9259) fades still 12 (03_24_18_9347) fades still 13 (03_27_17_9421) fades still 14 (03_34_11_9590) fades still 15 (03_34_24_9601) fades still 16 (03_44_17_0596) fades still 17 (03_54_00_0829) fades still 18 (04_23_22_1576) fades still 19 (04_31_07_1761) fades still 20 (04_34_09_1838) fades still 21 (04_40_13_1992) fades still 22 (04_45_23_2127) fades still 23 (04_50_00_2229) fades still 24 (05_00_20_2499) fades still 25 (05_12_12_2791) fades still 26 (05_43_18_3572) fades still 27 (06_08_17_4195) fades still 28 (07_05_22_5626) fades still 29 (07_14_00_5829) fades still 30 (07_21_18_6022) fades still 31 (07_26_05_6134) fades still 32 (07_32_20_6299) fades still 33 (07_36_12_6391) fades still 34 (07_41_15_6519) fades still 35 (07_47_08_6662) fades still 36 (08_04_11_7090) fades still 37 (08_06_00_7129) fades still 38 (08_10_07_7236) fades still 39 (08_12_16_7295) fades still 40 (08_14_24_7353) fades still 41 (08_17_07_7411) fades still 42 (08_25_15_7619) fades still 43 (08_33_10_7814) fades still 44 (09_52_23_9807) fades still 45 (10_01_08_1017) fades still 46 (10_53_10_6302) fades still 47 (11_03_16_6558) fades still 48 (12_22_11_8528) carsten nicolai . fades © 2006 carsten nicolai courtesy galerie eigen+art, leipzig/berlin and pacewildenstein, new york catalogue dvd published 2007 by raster-noton . archiv für ton und nichtton format: pal, 2.0ch stereo / 5.1ch surround sound phone: +49 371 354 0258 / fax: +49 371 354 0259 [email protected], www.raster-noton.de production, editing: acht frankfurt – simon mayer, ralf ott cat. no.: r-n 84 fades. image and sound converter, 2.0ch and 5.1ch arrangements: nibo mastering: wave-line, berlin – gert rahn text: daniel klemm design: nibo, noto installation photos: uwe walter 2007 daniel klemm (text) © 2007 carsten nicolai, vg bild-kunst, bonn, germany (images) © 2007 carsten nicolai (dvd), any unauthorized copying, editing, exhibition, renting, © hiring, lending, public performance, diffusion, and/or broadcast of this digital video disc or any part thereof is strictly prohibited dvd and catalogue 2007 in germany ℗ this dvd features the source movie for the fades installation (2006). the movie projection is a key element of the installation, applied as a modulated light source rather than as a movie in the classical sense. it develops its essential visual language only in connection with a fine mist, through which it is projected. in the book, the work is illustrated through 48 stills from the movie, together with four installation views. for more information about where to experience the real installation on site, please check the news section (exhibitions) on www.carstennicolai.de 1 ∞ 1997 The project represents an encroachment into the everyday life of the town of Kassel in 1997. Acoustical codes and signs—cryptic forms of information—were distributed throughout town. Seventy-two short audio pieces, each lasting 45 seconds, form the aural elements of this work. The sound structures receive their sources or references from the signals of the telephone, the fax, Morse code, and other signals that transmit information. These were emitted in public spaces such as a department store, the airport, and a railroad station over a period of 100 days. These non-identifiable codes infiltrating everyday life generated interference, resulting in a new perception of the surrounding world. In addition, these sounds were transmitted without prior announce- ment by the local radio station. As a visual equivalent to the sound, graffiti—an abstract logo (sign)—was also distributed all over the town. A stage was centrally installed (at the center of a spiral ramp of a parking garage), which not only combined all the elements, but also served as a performance space during the opening of documenta X for Carsten Nicolai, Mika Vainio, Frank Bretschneider, Olaf Bender, and C.M. von Hausswolff. 1.1 – 3 Exhibition view, documenta X, Kassel, Germany, 1997 1.1 1.2 1.3 2 – bausatz noto ∞ realistic 1998 1998 Four Technics SL – 1210 turntables are integrated into a table. On each The installation realistic explores the phenomenon of noise accord- of these turntables rests a specially produced vinyl record with 12 ing to the theories of Takashi Ikegami on active mutations of locked grooves, each of which provides the visitor with the opportu- self-reproducing networks. Noise is a complex, randomly organized nity to play several sound loops endlessly. The table functions as the signal that cannot be expressed in any kind of algorithm. realistic instrument that permits the viewer to layer and superimpose the 3.1 documents the sound present in an exhibition space over a long sound loops and to create constantly new combinations. The field of period of time. A tape loop and a modified analogue tape recorder interaction is further expanded by the option to substitute the record, are used to continuously record noise contained in the space. Since to vary its pace, and to have it rotate eccentrically through alternat- the erase head has been disabled, the recorded noise is layered over ing holes. Headphones on top of the table invite the visitor to follow 3.2 and over again, resulting in sound loops, which document site- and attentively the emergence of the sound surface. When visitors leave, time-specific noise. the sound system installed at the exit emits the manually selected combination of sound loops.
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