The work reflects on the early days of cybernetic research and its influence on the art movements emerging from the period of 50/60s - minimalist/conceptual art. It deals with the concept of complex systems and uses feedback to represent a basic example of self-adaptive system i.e. artificial intelligence. The cube construction purposefully reminds of the minimalist/conceptualist works of the 50/60s, such as the forms of Soll Lewitt, the father of conceptual art/programmatic art. This symbolically suggests the link between scientific ideas from the late 40s and their reflection onto the global conscience of the 50/60s.
This cube is one of the three cubes that are planned for construction and will consequently form a larger piece with a possibility of modularly assembling them.
The construction of the work loosely resembles the paper tape transport on the first computer Colossus that the British code breakers used to read encrypted German messages during World War II.
The cube is constructed out of thin steel tubes as a sturdy support for the magnetic tape loop. The magnetic tape is looped around the wheels that are fixed to the cube construction with elastic bands to keep the angle and the tension of the tape. A stepper motor is moving the tape around the wheels with constant speed. A system of play/record magnetic heads is connected to the cube construction. All of the connecting wires are hidden inside of the steel tubes of the cube. The sound of the surrounding space and the visitors is broadcast and recorded randomly on different parts of the looped tape making a constant feedback/delay loop that is gradually developing more and more.
As opposed to classical feedback loop this one is hyperspacial, since it has multiple recording points that trigger randomly on random parts of the tape. The spatial recording of the space and the interactions with the space and the constant rewriting of the loop would serve like a spatial amplifier, accenting the characteristics of the particular space of the performance and removing the articulated sounds, abstracting it until the only thing left is the sound of the space and how it resonates. The resulting sound is best describable as deep, distorted, saturated echo with a dose of positive feedback.
Produced by T.R.I.B.E. and MoTA – Museum of Transitory Art