Participation Artist's

July 15-August 11, 1994 [Finished] ICC Gallery


The stimuli taken in by our senses doesn't directly impact our daily lives in its raw state. It must first be deciphered, its salient features impressing on our thought processes as understanding. As information, it is not only meaningfull as existing in the moment of its apprehension. Rather, a world view including its possibilities, in both the past and future, is an essential perspective in its interpretation.
Imagine riding a bicycle on an unobscured open plane. At any point, we have the potential to turn the handle in any direction. Yet, it reality, we are only allowed one option at a time. A this juncture, some people will take the possible world view, and feel that the bicycle is a vehicle capable of going anyplace, and some people will take the real world view, and see it as a vehicle going some (particular) place.
In other words, when we see a bicycle, it stimulates our imagination, and we feel like going somewhere--we see something beyond the bicycle. This is the bicycle within the possible world.
The possible world is a world built from the imagination which possibilities engender. It includes the world fantasies discarded from our daily lives.
This very imagination, however, makes intelligible the information coming at us, by modelling it. These models can be manipulated in any number of ways---analyzed, transposed, elaborated, until the point when they can no longer be differentiated from symbols, at which point understanding begins.
Graphic 3D models can be dynamically manipulated. They are an excellent tool for generating symbols, and have the power to beget new ways of understanding.

In this workshop we sever the concept of velocity from its corporeal reality, and take it into the realm of the possible. It is a fantasy of velocity, one perhaps only permitted in the world of art, a process of sensorial externalization. From this gulf rise issues of progress in modern techniques of expression. Techniques of observing both real and (extra-real) possible worlds at that same time have traditionally been the privilege of the artist, but today this privilege has shifted into the hands of the scientist. When such models from the scientific world have been accepted by society at large, the arts must satisfy themselves within the narrow confines of quantifying techniques of sensation.
New imaginative strengths are needed to bridge the fissures between these two realities. A means towards more powerful visions is to push our technologies to their breaking point! To drum the fantasy awake from the bowels of our machines! We artists must dare experiments in unifying these realities with the sheer force of imagination!