Eternal September, the rise of amateur culture exhibition at Aksioma, curated by Valentina Tanni. From internet folklore to the deja vu “on the screen” an exploration of “amateur culture” quickly corroding certainties. http://www.aksioma.org/eternal.september/index.html
Twitchy Fingers Scott Fitzgerald (aka Droolcup) is an installation video live like a house of mirrors, in which the image of who is captured by the camera is reflected and distorted in a self-propelled graffiti. The traits, caught as in a photograph, they are processed through a library of functions useful to display the objects 3D (OpenGL), subjected to chromakey and blur, and returned in real time in a new form, hallucinatory. If the mirrors are generally prosthesis of our perceptual apparatus, rigid designators unable to generate a semiosis, those deforming the contrary start processes of interpretation. The moment you are aware of yourself in front of a distorting mirror, in fact, an active suspension of disbelief on the virtue of deforming prosthesis such that on the one hand you have fun, on the other hand it helps the reflective surface to lie. The fun is not just order semiosic, but also aesthetic: the observer, in this case the user of the installation, is pleased to see his reflection changed 'on purpose', his freaky alter ego. As in photography, cinema and television, even in the new media the image is frozen and the footprint of the referent, its bright rays, are translated into other matter. The perceived difference in the case of digital media is due to real time: the frozen image is returned in real time along with the movement of the contact, which is mapped by a system of particles. But diversity is illusory, since the intensity ratios and pigmentation remain unchanged, are simply translated by a code. Simple programming to Droolcup to reflect on a concept that sees ancestral, to put Lacan, perception and thought, consciousness of his own subjectivity and experience specular reflection and moments of semiosis as an inextricable knot.