Sometimes the online world reveals unsuspected parallel dimensions. This is an unknown restyle of Neural independently (and secretly as we never knew about it) made by NY-based Motion and Graphic Designer, Clarke Blackham. Very nicely made, perhaps only a bit glossier for the magazine’s line, it testifies once more how even your most familiar outcomes can have another life somewhere else.
The installation Translator II: Grower Sabrina Raaf, on display at the Kunsthaus Graz and the Peeler Art Center, consists of a small robotic vehicle that moves around the perimeter of a room, touching the walls. The machine is able to analyze the levels of carbon dioxide present in the air, thanks to the digital sensors that communicate wirelessly with a main sensor mounted on a wall of the exhibition space. The presence of the visitors and the amount of oxygen breathed have an immediate effect on the sensors of the robot which draws a vertical line the length of which corresponds exactly to the level of CO2 exhaled and consequently the number of people passing into the exhibition space. Once you have completed a line, the robot moves a few millimeters and repeats the process. At the end of the performance, the base of the walls of the room is covered with thin green lines (some of which also arrive to the extent of 30 centimeters) that, taken as a whole, reminiscent of the section of a field of grass. According to Sabrina Raaf, the metaphor of the grass, which in nature need CO2 to grow lush, explains the significance of the artifice of a green field designed by a robot and that takes the breath of the visitors to grow, aiming to emphasize how the art institutions depend on their visitors for the development of thriving spaces for enjoyment of art. Undoubtedly, in the desire of the artist to represent the relationship between man and machine as viable entities, for which, in their mutual relate, the Grower, the exhibition space and the audience become one body metabolism, we find echoes of the reflection of Baudrillard on the system of objects in which "men and technical needs and objects are structured each other for good or for evil." But, if the perfection of the automatism of a machine can involve the risk of arrest technology, reducing the man's position to that of irresponsible viewer, in this case, thanks to the output of the artistic robot sensitive to environmental conditions, people present in the exhibition space begin to pay more attention to the environment itself, giving rise to a dynamic relational model in which machines and men shall exchange information and have no effect on each other through their cooperation. In this context, just as Baudrillard would say, manifests "the vocation of objects to the role of substitutes for human relationships. In its concrete function, the object is the solution of a practical problem. Inessential In its aspects is a solution of a social conflict or psychological. "