// Materializing the Invisible: Signal, Ruin, and the Cosmology of Media
06142025- 08252025
Steel stand, Solar panel, Sound mixing deck, Laser-diode, Parabolic mirror, Audio
speaker, LCD monitor, Assorted electronic components and wiring,
various cables, Sound, Stone and concrete fragments
Static Cord , "The slow decay of resonance" refers to a phenomenon where a system, after reaching a state of resonance or a collective behavior, gradually loses that stability over time, rather than undergoing an immediate or rapid collapse
​To stand before it, is to realize that fragility is not failure. The crackle of static, the hum of wires, the imperfect translation of light into sound-- tokens that every act of transmission is contingent, vulnerable, and yet enduring. In this tension, the work materializes the invisible through a process-- a cycle of transformation where signal is always passing through states of translation. The invisible infrastructure of a slow decay of resonance, stitched together from risk, noise, and residue.
FeedbackMachines with Memory
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Machines with memory are typical for our computer age. While a machine without memory reacts on inputs always in the same way, a machine with memory may react differently upon taking its own state or content of memory into account. Input and Outputs are given as pairs, or triplets, or quadruples, and so on, of potentials. Pairs of inputs, create pairs of outputs, formally introducing a type of ''new' pair, and extending the experience of memory into the preceding iteration, and can technically continue to grow generation from generations, for the purpose that it conserves some memory of the last cycle.
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This work examined formal and conceptual parallels between a contemporary sound- and light-based mechanical sculpture and rock art traditions of the Southwestern United States, particularly Ancestral Puebloan and Fremont imagery. Visually, the sculpture’s rectilinear torso, linear appendages, and projected head structure recall the geometric abstraction characteristic of Southwestern petroglyphs. Fremont examples, including segmented rectangular bodies and radiating head motifs, demonstrate how anthropomorphic and therianthropic figures were constructed through structural line rather than anatomical modeling. These figures operate less as naturalistic representations than as symbolic presences articulated through posture, proportion, and internal division.
Archaeological research at sites such as Chaco Canyon indicates intentional solar and lunar alignments in architectural planning, while certain rock art panels appear positioned within acoustically resonant landscapes. Although petroglyphs did not function as technological instruments in a contemporary sense, light, orientation, and environmental acoustics were embedded within ritual and seasonal systems. Therianthropic imagery—hybrid human-animal forms—has been interpreted as mediatory, symbolically traversing terrestrial and celestial domains.
Framed within New Media discourse, the sculpture may be understood as a contemporary cosmogram: a technologically mediated body activated by light alignment and ambient resonance. Rather than implying direct historical continuity, the work can be described as engaging a parallel structural logic—deploying abstraction, environmental activation, and hybrid form to construct a multisensory field in which material systems evoke cosmological presence.