Wind → Displacement
The intensity and direction of the wind move the surface of the image along a deformation field.
· How it works ·
Concept
From the measurement of the real to the rewriting of the image. Transduction is the technical heart of the work: the point where a measure of the world becomes a quality of the image.
Transduction
Four readings of the environment, four operations on the image.
Pollen → Biotic grain
Pollen concentration settles as a living grain, a texture that pulses with the biological load of the air.
Temperature → Drift
Temperature shifts colour into drift and governs the slowness of movement: heat widens, cold withholds.
Particulates → Disaggregation
Atmospheric particulates break the chromatic components apart, erode the mark, return it toward the Generative Void from which it re-emerges.
Wave period → Breath
The rhythm with which the sea returns upon itself, measured before the coast, governs the frequency at which the image expands and gathers.
Wave height → Amplitude
Wave height modulates the amplitude of the image's breath: the higher the wave, the deeper the gesture.
Sea temperature → Deep drift
Water temperature shifts the colour into a deep drift, distinct from that of the air.
Sea current → Palimpsest
The current brings the palimpsest layer to the surface: how much the second image emerges depends on the motion of the water.
· What's new ·
The breath of the sea
The sea does not deform the images: it sets their breathing. The wave period, the rhythm with which the sea returns upon itself measured now before the coast, governs the frequency at which the image expands and gathers. A long, settled sea gives a slow breath; a short, restless sea a quicker one. Wave height modulates its amplitude, water temperature shifts the colour into a deep drift, the current brings the palimpsest to the surface. For the first time the work breathes to the measured rhythm of a real body, rather than to a cadence decided in advance.
The five-state machine
The system reads the overall configuration of its data and classifies it into a mode. The recognised state governs three dimensions at once: the time of the scene, the music, the active voice corpus.
Suspension
Quiet, calm data, maximum dilation of time. The voice grows rare, the wind subsides. The ecstatic moment of the work.
Flow
Continuous, regular movement. The image proceeds, the transitions breathe at a constant cadence.
Erosion
Sustained particulates and decay. Chromatic disaggregation dominates, a slow wearing-away of the surface.
Fracture
Extreme or discontinuous values. Sharp discontinuity, rapid transitions, tension in the field.
Resonance
Harmonic convergence of the data. The elements align, the system reaches coherence.
The system
From top to bottom: the real enters, the work exits. In between, the reading that recognises the state.
- 01 European meteorological networks · Copernicus satellites · Open-Meteo Marine · iNaturalist
- 02 Data reading and state recognition (five modes)
- 03 Transduction: displacement, biotic grain, drift, disaggregation
- 04 Transitions between images along a graph of semantic affinity
- 05 Modulation of time, music (five tracks) and voice
- 06 Real-time rewriting on two layers: dominant and palimpsest
Residual Code Poetry
A corpus of short verses in a D'Annunzian register. Generated by the system from the incoming data merged with the mood of the images, then recorded as voice; at runtime the selection is governed by the mode. Authorship lies not in the single verse but in the generative grammar. Born as a text-object on plexiglass, here Residual Code Poetry becomes voice: temporal, disembodied, audible.
Taci. Lo scirocco passa lieve, e aria divina attraversa il ramo antico.
Va l'aria, va il polline, va il mio nome sull'acqua: nulla si ferma, e in questo nulla io respiro.
Si consuma la riva, granello dopo granello, e ciò che fui è cenere leggera sul mare.
Si spezza l'ora, e la luce cade a schegge: nel taglio il cielo mostra il suo osso.
Ogni cosa risponde a ogni cosa: il mare al pino, il pino al sangue, il sangue al dio che tace.
References
BIOMA stands at the crossing of three traditions: visual contemplation, the psychophysiology of quiet, the aesthetics of systems.
- Artistic
- Bill Viola · James Turrell · Mark Rothko · Marina Abramović · Hiroshi Sugimoto · Brian Eno
- Psychophysiological
- Polyvagal Theory (Stephen Porges) · EMDR (Francine Shapiro) · neuroscience of meditation (Andrew Newberg)
- Theoretical
- Generative Void · Opera-Sistema · Resonance Networks · Residual Code Poetry · Framework Generativo ArTech · Systems Esthetics (Jack Burnham, 1968)