"Syncing 2113"
Retrieving: https://ouk-apw.adlibhosting.com/webapi/wwwopac.ashx?database=collect&search=priref='2113'
Added or Updated: I/O Underflow (2113)
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Tony Oursler 'hackte' de Oude Kerk met digitaal geprojecteerde performances die de evoluerende aard van de architectuur en het culturele gebruik van het monumentale gebouw benadrukten. Mediatechnologie heeft een revolutie ontketend die stilletjes zijn weg vindt in ons leven en onze samenleving. Oursler stelde de vraag hoe deze ontwikkeling bestaande verhalen en denkwijzen verandert. Het publiek was getuige van de koppeling van digitale en historische beelden, die hen aanzette om na te denken over de veronderstelde waarheden achter elk afzonderlijk beeld. \n
\n
Het gezicht is een belangrijk element in het werk van Oursler. Hij is geïnteresseerd in hoe gezichten emoties en boodschappen overbrengen en of machines in staat zijn hetzelfde te doen. In één installatie deelden vier sprekers in close-ups gefragmenteerde anekdotes en overpeinzingen. In een andere installatie werden gezichten geprojecteerd op het houten plafond van de Oude Kerk. \n
\n
Op weer een andere plek werd een video getoond van twee mensen die een poëtische kakofonie uitvoerden van teksten geschreven door de kunstenaar. De teksten waren gebaseerd op zijn onderzoek naar Alan Turing, die aan de wieg stond van onze digitale revolutie. In de projecties konden bezoekers aspecten van zijn leven en werk op een niet-lineaire manier gewaarworden. Oursler verknipte en fragmenteerde het verhaal in een verzameling visioenen, spookachtige wezens en half-menselijke wezens. Twee videovoorstellingen in het Hoogkoor toonden twee kanten van de digitale revolutie. Een video ging over controle en controleverlies vielen na verloop van tijd langzaam samen, waardoor er samenhang ontstond tussen menselijke input en digitale output. De ander leek menselijker, vol emoties en woorden van verzet. Gehackt worden was duidelijk niet voor iedereen een vrijwillige keuze.\n
\n
Tot slot toonde Oursler twee sculpturale elementen. Drie loterijkaarten, zo groot als peuterzwembaden, trilden onder de massieve hand van een krasgokker. De opzichtige objecten en hun nerveuze gefladder maakten een hopeloze gewoonte belachelijk. Hij creëerde ook een eenvoudig gelui gemoduleerd licht. Op een bepaalde manier werd licht gewerkt volgens een eenvoudige vergelijking: hoe harder of zachter het geluid, hoe feller of zwakker het licht. Dit was gebaseerd op de observatie dat wanneer we naar onze schermen staren, we worden uitgenodigd om het digitaal geconstrueerde beeld te geloven terwijl we het zelf produceren. Het bewegende beeld bestaat uit lichtpuntjes en donkerpuntjes; alleen ons geloof in het bestaan ervan maakt het beeld tot een nieuwe realiteit.
"""
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Tony Oursler 'hacked' the Oude Kerk with digitally projected performances that highlighted the evolving nature of the architecture and cultural use of the landmark building. Media technology has unleashed a revolution that is quietly making its way into our lives and society. Oursler questioned how this development is changing existing narratives and ways of thinking. The audience witnessed the pairing of digital and historical images, prompting them to reflect on the assumed truths behind each individual image. \n
\n
The face is a key element in Oursler's work. He is interested in how faces convey emotions and messages and whether machines are capable of doing the same. In one installation, four speakers shared fragmented anecdotes and musings in close-ups. In another installation, faces were projected onto the wooden ceiling of the Oude Kerk. \n
\n
In yet another, a video was shown of two people performing a poetic cacophony of texts written by the artist. The texts were based on his research on Alan Turing, who was at the cradle of our digital revolution. In the projections, visitors could sense aspects of his life and work in a non-linear way. Oursler condensed and fragmented the story into a collection of visions, ghostly creatures and half-human beings. Two video performances in the High Choir showed two sides of the digital revolution. One video was about control and loss of control slowly coincided over time, creating coherence between human input and digital output. The other seemed more human, full of emotions and words of defiance. Being hacked was clearly not a voluntary choice for everyone.\n
\n
Finally, Oursler showed two sculptural elements. Three lottery cards, the size of toddler pools, vibrated under the massive hand of a scratch gambler. The gaudy objects and their nervous fluttering ridiculed a hopeless habit. He also created a simple lazy modulated light. In a way, light was worked according to a simple equation: the louder or softer the sound, the brighter or weaker the light. This was based on the observation that when we stare at our screens, we are invited to believe the digitally constructed image as we produce it ourselves. The moving image consists of points of light and points of darkness; only our belief in its existence makes the image a new reality.
"""
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