TADEJ VINDIŠ (SI/UK

Kako stroji osmišljajo človeški svet, čigar organizacija s progresivno intenziteto deluje med njimi in skozi njih? Stroji so rekonfigurirali naš odnos do reprezentacije, komunikacije in spomina. Njihova vizija, zdaj prepletena z našo, je zgrajena okoli logik mehanske infrastrukture binarnih protokolov, ciklov operacij strojne/programske opreme, in togega proceduralnega procesiranja interpretacij podatkovnih tokov. Strojev ne zanima, kdo smo, kaj smo in kaj sestavlja naš kulturni prostor; interesirajo jih številke ter vzorci – v ritmičnem procesiranju. Strojem so slike, besedila, ikone ali simboli grafičnih uporabniških vmesnikov tako odveč za njihovo delovanje kot naša telesa in umi. Vse se razgradi v številke, procesirane skozi materialnost strojne opreme in neskončno preobraženo, spremenjeno, preslikano ter prevedeno skozi verigo procesov z vnosi in iznosi, s čimer se stanje sodobnosti transformira v komputacijsko nepredvidljivost. V odnosu z nami so stroji precej ikonoklastični. So brezbrižni in zadovoljni s svojo brezbrižnostjo oziroma, bolj natančno, ne komunicirajo, le procesirajo, dokler ne zamrznejo ali se okvarijo. Instalacija temelji na treh omreženih strojih, ki dostopajo drug do drugega, pri drug drugem iščejo binarne/sistemske datoteke in jih izvajajo na zaslone. Kar se zdi kot napaka, projicirana na ekran, je dejansko nezmožnost stroja za prevajanje teh datotek v človeku razumljiv ASCII. S prevajanjem strojnega procesiranja v človeku razumljiv izraz lahko skozi napake in kompleksnost ujamemo bežen vpogled v obseg in strukturo informacij, ki so izven našega dosega znotraj komputacijskih sistemov sodobne digitalne kulture. Zvok je neposredna amplifikacija strojnega procesiranja skozi magnetne mikrofone znotraj vsakega stroja. 

How do machines make sense of the human world, whose organisation operates between and through them with progressive intensity? Machines have reconfigured our relationship towards representation, communication and memory. Their vision, now entangled with ours, is built around the logics of the mechanical infrastructure of binary protocols, cycles of hard-ware/software operations, and the rigid procedural processing of the interpretation of data flows. Machines are not interested in who we are, what we are, and what constitutes our cul-tural space; rather, their interest lies in numbers and patterns – in rhythmical processing. For them, the pictures, texts, icons or symbols which make up Graphic User Interfaces are as superfluous to their operation as our bodies and minds. Everything breaks down into numbers, processed through the materiality of the hardware and indefinitely transformed, changed, remapped and translated in a chain of processes with input and output, thus transforming contemporary condition into computational contingency. In relation to us, machines are rather iconoclastic. They are indifferent and satisfied with their indifference – or more accurately, they do not communicate, they only process, as long as they do not freeze or break down. The installation is based on three networked machines which are accessing each other, searching for each other’s binary/system files and executing them to the screens. What seems to be a glitch projected on the screen is in fact the impossibility of the machine in translating those files into human-readable ASCII. With machine processing rendered human-readable, we can glimpse, through error and through complexity, something of the scale and structure of information unavailable to us within computational systems of contemporary digital culture. The sound is the direct amplification of the processing of the hardware through the magnetic microphones inside each of the machines. 

Projekt je nastal v okviru magistrskega študija Interaktivni mediji: Kritična teorija in praksa na univerzi Goldsmiths, University of London, podprt pa je s štipendijo Javnega sklada RS za razvoj kadrov in štipendije. / The project was made as part of the MA Interactive Media: Critical Theory and Practice studies at Goldsmiths, University of London, and supported by a scholarship from Slovene Human Resources Development and Scholarship Fund.

Reconfigured, 2016 intermedijska instalacija / intermedia installation