"Everything I've Heard About Tempo" (关于我所听闻的一切拍子)
// BLURB //
Drink electricity, meet more humano-mechanical friends, float more in space, be faster than the stars. At least this is what your neohuman parents tell you when you lock yourself in your vacuum cabin. We all feel the same way. We just want to turn off the charger, sit under the solar poles and read the old-fashioned maestros. We like being retro. Before the apocalypse, they say, all people were retro. I like to think it all changed with the mechanical language and fractured imagery of the 1910s, 20s and 30s. Our cherished technical civilization brought the total work of art into life and this cacophony of the futurist environment changed the minds of the people. The first partisan actions of the robotic thought were Marinetti’s “parole in libertà”, the first computer viruses, so to say, implanted in human flesh, while insurrection, digitalization, and machine aesthetics were only steps away from the global restart. But when I’m here, I just want to forget about all this, get out of the dynamic cycle and slow down. Watch a Tarkovsky movie and look away from the beauty of speed. Sit motionless in the midst of the omnipresent velocity.
Drink electricity, meet more humano-mechanical friends, float more in space, be faster than the stars. At least this is what your neohuman parents tell you when you lock yourself in your vacuum cabin. We all feel the same way. We just want to turn off the charger, sit under the solar poles and read the old-fashioned maestros. We like being retro. Before the apocalypse, they say, all people were retro. I like to think it all changed with the mechanical language and fractured imagery of the 1910s, 20s and 30s. Our cherished technical civilization brought the total work of art into life and this cacophony of the futurist environment changed the minds of the people. The first partisan actions of the robotic thought were Marinetti’s “parole in libertà”, the first computer viruses, so to say, implanted in human flesh, while insurrection, digitalization, and machine aesthetics were only steps away from the global restart. But when I’m here, I just want to forget about all this, get out of the dynamic cycle and slow down. Watch a Tarkovsky movie and look away from the beauty of speed. Sit motionless in the midst of the omnipresent velocity.
EDITION, MEDIA, SIZE & WEIGHT
Unique Edition, Shanghai 2018
RGB LED display, acrylic painting on Plexiglas, paper collage, Corian & teakwood frame
53(W)×53(H)×5.5(D) cm // 10.75 kg
TECH SPECS
• SLC SD Card
• 3×MWLPV20-5 (INPUT 100~240VAC@0.55A / OUTPUT 5V@3A)
• (2+1 spare)×RGB P4-L830-8S-1921V3.5 / D180188
CRATE SIZE & WEIGHT
65(W)×65(H)×18.5(D) cm // 21.5 kg
EXPOSURE
“The Geometry Of Binary Life” at island6 Shanghai Main Space
CREDITS
Lu Xiao Tian 陆晓添 (painting) • Yeung Sin Ching 杨倩菁 (production supervisor) • Thomas Charvériat (art direction, animation & technical guidance) • Irmantas Bortnikas (documentation) • András Gál (blurb)
Unique Edition, Shanghai 2018
RGB LED display, acrylic painting on Plexiglas, paper collage, Corian & teakwood frame
53(W)×53(H)×5.5(D) cm // 10.75 kg
TECH SPECS
• SLC SD Card
• 3×MWLPV20-5 (INPUT 100~240VAC@0.55A / OUTPUT 5V@3A)
• (2+1 spare)×RGB P4-L830-8S-1921V3.5 / D180188
CRATE SIZE & WEIGHT
65(W)×65(H)×18.5(D) cm // 21.5 kg
EXPOSURE
“The Geometry Of Binary Life” at island6 Shanghai Main Space
CREDITS
Lu Xiao Tian 陆晓添 (painting) • Yeung Sin Ching 杨倩菁 (production supervisor) • Thomas Charvériat (art direction, animation & technical guidance) • Irmantas Bortnikas (documentation) • András Gál (blurb)
[DOWNLOAD VIDEO ↓]