Autor/Autorin: Fratzeskou Eugenia
Artist, writer, editor, critic, lecturer. AHRC-funded PhD, MA, BA Fine Art, Surrey Univ./WCA. Lecturing MArch Westminster University, London. 53rd & 50th Venice Biennale, Tate Britain, Leonardo/MIT, ISEA2010-7, LFA/Cultural Olympiad 2012, Digicult, Spéciale Z, TRACEY, NY DigitalSalon, Marks in Space 2004, ABC:MTL (CCA), EspacioEnterCanarias 2016-7.
In the light of contemporary science, technology, art and design, a meta-surface can be perceived as a dynamic fragment that emerges from the interactions of known and unknown systems. What would make such a meta-surface rich in creative, philosophical and innovative potential, is the possibility to reveal and engage with the emerging `meta´, `cross´, `trans´ and `inter´ systems, together with their programmatics, geometries, behaviours and interactions. Transcribing and translocating can be made possible through simultaneously reactive and generative meta-surfaces creating a time-space `slice´ for rendering data-fractions of the real world. As art has the potential to cut across and operate between various disciplinary fields, drawing may be defined as a process of interpreting, activating, transmuting or even re-programming heterogeneous time-space `stratifications´, operating as a critical intervention into the invisible flows of material and immaterial metamorphoses.
In the light of contemporary science, technology, art and design, a meta-surface can be perceived as a dynamic fragment that emerges from the interactions of known and unknown systems. What would make such a meta-surface rich in creative, philosophical and innovative potential, is the possibility to reveal and engage with the emerging 'meta', 'cross', 'trans' and 'inter' systems, together with their programmatics, geometries, behaviours and interactions. Transcribing and translocating can be made possible through simultaneously reactive and generative meta-surfaces creating a time-space 'slice' for rendering data-fractions of the real world. As art has the potential to cut across and operate between various disciplinary fields, drawing may be defined as a process of interpreting, activating, transmuting or even re-programming heterogeneous time-space 'stratifications', operating as a critical intervention into the invisible flows of material and immaterial metamorphoses.
Über den Autor
Künstlerin, Autorin, Herausgeberin, Kritikerin, Dozentin. AHRC-finanzierter Doktortitel, MA, BA Fine Art, Surrey Univ./WCA. Lehrtätigkeit MArch Westminster University, London. 53. und 50. Biennale von Venedig, Tate Britain, Leonardo/MIT, ISEA2010-8, LFA/Kulturolympiade 2012, Digicult, Spéciale Z, TRACEY, NY DigitalSalon, Marks in Space 2004, ABC:MTL (CCA), EspacioEnterCanarias 2016-9.
Klappentext
In the light of contemporary science, technology, art and design, a meta-surface can be perceived as a dynamic fragment that emerges from the interactions of known and unknown systems. What would make such a meta-surface rich in creative, philosophical and innovative potential, is the possibility to reveal and engage with the emerging ¿metä, ¿cross¿, ¿trans¿ and ¿inter¿ systems, together with their programmatics, geometries, behaviours and interactions. Transcribing and translocating can be made possible through simultaneously reactive and generative meta-surfaces creating a time-space ¿slice¿ for rendering data-fractions of the real world. As art has the potential to cut across and operate between various disciplinary fields, drawing may be defined as a process of interpreting, activating, transmuting or even re-programming heterogeneous time-space ¿stratifications¿, operating as a critical intervention into the invisible flows of material and immaterial metamorphoses.
