The blind eye projects seek to make and promote art and media that deflect the interest of the audience and attempt to subtract stimulation. They propose nothing less than work that reverses the historic logic of media and art.
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Let me tell you how the daylight soothed our eyes. All night we fought and paced and scrawled notes on butcher-paper torn and tacked up, draped and wrinkling from room to room. Our deadline? Morning’s sun through Victorian windows. Their glass our mirrored countdown. Winking back the dread. Fierce love’s deepest dread. Dread beyond humanity’s words and machines and gerry-rigged DNA. The dread of your mind’s very eyes and ears and heart.
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The “ambient revolution” idea sprang from willy mal’s enthusiasm for the rapid changes that occurred in tv, including the news, during the 1980s. The striking progression of sensation-driven tv programming promised to undermine tv’s authority in public life and, under …
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Why reverse media logic? Media reversal and deflection are like sound wave cancellation techniques. They seek to neutralize sensation by creating its opposite. In the case of sound, this opposite is a wave that saps the energy of the existing sound. Think of a bath tub where equal and opposite waves collide and cancel each other leading to a still tub. The action, its process, cancels stimulation.
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We designed the “exoptic fields” video based on aspects of visual optics, neurophysiology, and visual psychology. Optics and neurophysiology involve the brightness, colors, orientation, and the motion of visual stimuli to capture the attention of the viewer. Visual perception also involves the active participation of the perceiver, her active exploration of the environment, her psychology. This last fact makes addressing visual psychology the key to successful visual deflection.
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The failure of deflective art is its success. A work made to be deflective should even more than disappear. It should reduce the potential stimulation by the quantity that its non-deflective homologue would arouse. The deflective work’s effect will go beyond the simple and banal rejection by the observer to finish in perfect negation of itself!
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A work conceived deflectively is like any other. Only less so. A deflective wooden sculpture – if such is possible – is first of all a sculpture of wood. Only less so per the following logic:
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