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Satellite Border Footprint/Gabriel Menotti (view source)
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This curiosity led me to participate of the [[Satellite Border Footprint/Home is Where you get a Signal|drawing session]] with the [[Satellite Border Footprint/Büro für Unabwägbarkeiten|Büro für Unabwägbarkeiten]]. It proved to be a wonderful opportunity to imagine how the dish (and its [http://en.wikipedia.org/wiki/Feedhorn feedhorn]) could be employed either as a tool or as an occupiable construction. Most of the situations I came up with allowed the public to manipulate the dish according to certain physical parameters and constantly monitor the visual results of such interactions. In that sense, they were playful, pedagogic pieces, which promoted a general awareness of infrastructural aspects of media. | This curiosity led me to participate of the [[Satellite Border Footprint/Home is Where you get a Signal|drawing session]] with the [[Satellite Border Footprint/Büro für Unabwägbarkeiten|Büro für Unabwägbarkeiten]]. It proved to be a wonderful opportunity to imagine how the dish (and its [http://en.wikipedia.org/wiki/Feedhorn feedhorn]) could be employed either as a tool or as an occupiable construction. Most of the situations I came up with allowed the public to manipulate the dish according to certain physical parameters and constantly monitor the visual results of such interactions. In that sense, they were playful, pedagogic pieces, which promoted a general awareness of infrastructural aspects of media. | ||
However, once the satellite dish is disconnected from its normal architectural situation, there is nothing preventing it of becoming an instrument for performance. Thus, I feel that some of the pieces also suggested a sort of ''poetics of [http://en.wikipedia.org/wiki/Channel_surfing channel surfing]''. With this term, I’m implying all forms of manipulation of a reception device in search of particular signals. Primary examples of channel surfing would be scanning radio frequencies after a station; zapping through TV channels with a remote control; and even adjusting an antenna on the roof to increase the quality of the image. Of course, the list could be expanded to include more spatial forms of signal rummage, from centuries old [http://www.britishdowsers.org/learning/what_is_dowsing.shtml dowsing] to modern techniques such as [http://www.gearbox.mediashed.org/?section=tutorials&action=view&id=120 CCTV sniffing] (and, why not, the auditing of electromagnetic fields of the [[Satellite Border Footprint/SnowKrash SnowKrash]] duo and the research-performances of the Büro). | However, once the satellite dish is disconnected from its normal architectural situation, there is nothing preventing it of becoming an instrument for performance. Thus, I feel that some of the pieces also suggested a sort of ''poetics of [http://en.wikipedia.org/wiki/Channel_surfing channel surfing]''. With this term, I’m implying all forms of manipulation of a reception device in search of particular signals. Primary examples of channel surfing would be scanning radio frequencies after a station; zapping through TV channels with a remote control; and even adjusting an antenna on the roof to increase the quality of the image. Of course, the list could be expanded to include more spatial forms of signal rummage, from centuries old [http://www.britishdowsers.org/learning/what_is_dowsing.shtml dowsing] to modern techniques such as [http://www.gearbox.mediashed.org/?section=tutorials&action=view&id=120 CCTV sniffing] (and, why not, the auditing of electromagnetic fields of the [[Satellite Border Footprint/SnowKrash|SnowKrash]] duo and the research-performances of the Büro). | ||
On the one hand, a poetics of channel surfing would turn all available [http://en.wikipedia.org/wiki/Free-to-air free-to-air signals] in an infinite source for image making. Collaterally, it would create opportunities to reveal the spaces in-between structured channels, foregrounding the natural patterns – often called ''noise'' – that video devices try to suppress with their placid blue screens. | On the one hand, a poetics of channel surfing would turn all available [http://en.wikipedia.org/wiki/Free-to-air free-to-air signals] in an infinite source for image making. Collaterally, it would create opportunities to reveal the spaces in-between structured channels, foregrounding the natural patterns – often called ''noise'' – that video devices try to suppress with their placid blue screens. | ||