From Language to Decimation 2014
Invited Distinguished Professor:
Gabriel Esquivel, Studio Professor
Stephen Caffey, Assistant Professor of Art and Architecture History and Theory
Texas A&M University
Team: Corie Saxman, Christian Stiles, Kelli Lathrop.
Our object gives a glimpse into the inner most part of the digital object. It exposes spaces which are usually inaccessible to us. In turn this has exposed what could be considered as the “digital language”. In this sense the digital language could be described in two ways; the digital language in the sense of aesthetic characteristics, and the digital language in the sense of decimation.
The object is essentially one language that has been decimated, introducing a variation of the same language. It began as a HI FI, High polly exterior, but through the decimation process the interior has transgressed into a LOW FI, low polly synthetic. They are now two objects, both digital, but in different stages.
Through a series of explorations (i.e. the mosaic and unfolding processes) we have further reduced the digital language into different conditions. We now have introduced the “big data” language, as well as decimated the object even further into its rawest form.
The Raw and Synthetic
The distinction of the interior and exterior in terms of the raw and the synthetic can be approached in two different ways. In terms of the geometry the interior would be considered the synthetic while the exterior would be the raw, given its topological nature. In terms of materiality the interior then becomes the raw due to its crystalline nature, while the exterior material exposes pixelation at a micro scale turning the exterior into the synthetic.
Interior and Exterior
The objects interior geometry is low polly and crisp. This type of geometry lends itself to further geometric studies; the simplicity of the forms can be algorithmically unfolded to further decimate the object into its rawest form. The exterior language is more complex, it’s messy, resistant and pixelated on a micro scale.
The object is essentially two objects that are interconnected, wrapping deep inside of each other. The interior spikes abide by a hierarchy of scale, growing larger the further they wrap into the interior. This in turn renders the spaces within the object inaccessible and uninhabitable.
The two languages of the object are connected, but constantly resisting each other. The distinction of the interior and exterior provokes a clash as well as a flirtation between two languages. The renderings show these distinctions through material, while the unfolding process shows this geometrically. However the section exposes these differences through materials as well as form.
The pixelation of the object is not only for aesthetic purposes, but it is a representation of the inner most language of the digital. It represents the decimation of the digital from the synthetic to a raw form.