Yet it is safe to say that no form within the whole of modern aesthetic production has sustained itself so relentlessly while at the same time being so impervious to change. It is not just the sheer number of careers that have been devoted to the exploration of the grid that is impressive, but the fact that never could exploration have chosen less fertile ground. As the experience of Mondrian amply demonstrates, development is precisely what the grid resists. But no one seems to have been deterred by that example, and modernist practice continues to generate ever more instances of grids. Gray Numbers.
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Image courtesy of the artist. A set of stacked and overlaid monitors created a wash of subtle undulations across the teal blue screen and mimicked the effect of pressing a finger to a computer screen, briefly interrupting of the grid before the pixels rush back in to right the image. Throughout the room-sized installation, the pixel was pervasive.
Humor me while I say the thing that everyone must when talking about screens: they are everywhere, from our pockets to our billboards. Our relationships to our screens are more intimate than most friendships; the screen of my iPhone knows what I eat for breakfast, which words I can never spell on the first try February, Wednesday, birthday—all time-based words , the websites I frequent, and my unproductive hours.
We take as a given the presence of the screen in our daily lives—as an hourly necessity—and have the shallowest knowledge of the actual mechanics that operate them, accepting the marvel of the iPhone and computer screens with a Haraway-esque appreciation for sunshine. But unlike so many of our technological building blocks, the pixel can be measured in units, or in terms of physical space. The pixel is not exactly a new visual tool, particularly in painting, having been abundantly used by J.
Up close, each portrait is comprised of color-blocked squares or dots with no discernable pattern. As pixels moved from the painted surface to the computer screen, their prevalence has increased while their visible presence has become more obscure, almost infinitesimally small.
But thanks to our reliance on screens, the pixel—which underpins and grids every single image, every open tab on Chrome, every Instagram post, and offers unlimited variations of color and form—is the structural mechanism for contemporary viewing. The critic Rosalind Krauss, circa Photo: Judy Olausen. People are nowhere near so fluid, being both material and opaque. Cyborgs are ether, quintessence.
Summer , Claire E. Dempster is a writer based in Atlanta, Georgia. Related posts.
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