Techland

Through the exploration of Turing's theory on non-deterministic machines, the project draws inspiration from three interconnected perspectives: human perception, the intelligence of mycelium, and the role of machines in shaping our experiences. It examines how humans perceive their environment from documenting and sharing experiences. It delves into mycelium intelligence, which communicates and interacts within its unique umwelt, or perceptual world. It considers how machines, as a tool for all beings, generate diverse experiences for both people and other species.

Converging my personal experience through a specific landscape, the work includes simulations of slime mold created in Grasshopper, using mimicry of other species for human documentation. By intertwining these perspectives, the project probes beyond current technology, challenging the deterministic narratives often ascribed to the conventional idea of technology in the world at large.

Through the fusion of naturally grown organic lives and digitized scanned artifacts, this project seeks to unravel the complex tapestry of interconnectivity and transformation that lies at the intersection of the natural and the technological. It is an expedition into the unseen, a symbiotic relationship that thrives at the periphery of our perception, challenging the viewer to reconsider the dichotomy between carbon and silicon based matters.

The process begins with digitization of natural landscapes, capturing detailed contour and crevice that caught my attention. These digital landscapes, while precise, reveal negative spaces – voids that represent the limitations and blind spots of technological processes. It is here that the core of my artistic expression unfolds.

How can binary technology's rigid precision converge with nature's fluid unpredictability? Artistic research on the exploration of negative spaces in 3D scanned landscapes of Prudence Island, spaces that I have chosen to fill with living, organic matter, symbolizing the unpredictable and non-binary nature of life as conceptualized in Turing's Oracle-machine.

These negative spaces, rather than being overlooked, become the focal point of transformation. They are filled with organic materials, nurturing the growth of bacteria and fungi. This act is a deliberate embrace of the unpredictable, a nod to the Oracle-machine concept where the answers to unsolvable problems lie beyond binary logic. The growth patterns of these microorganisms are unscripted and organic, flowing into and altering the digital landscapes in ways that are both unforeseen and uncontainable.

The 3D printed landscape of artifacts becomes a dynamic canvas where the static and the living, the predictable and the spontaneous, coalesce. It is an artistic expression that challenges the viewer to contemplate the realm between the digitally replicated and the organically evolved. The installation invites audiences to witness chaos, as nature's growth fills the voids left by technology, offering a glimpse into the unknown – the realm of the Oracle.

This project is not just an artistic venture; it is a philosophical inquiry into the essence of being and knowing. It questions the perceived supremacy of technology over nature and highlights the intricate, often overlooked, interdependencies between these two realms. By filling the negative spaces of digital landscapes with organic growth, 'Convergence' becomes a metaphor for the necessity of embracing the non-binary, the unpredictable, and the immeasurable aspects of our existence.