This piece is considered a video work that reflects deeply on human suffering and shares the spirit of the times, as it offers a social reflection on Korea’s past, present, and future—marked by conflict, confrontation, and anger. It serves as a kind of homage to the era.

The work explores the relationship between individuals and society, portraying people who, while capable of hearing and speaking, are blind to the world, or those who can see the present but cannot speak or hear, as well as the unstable and fluid nature of society. Additionally, through artistic expression, the piece raises questions about human connection, resilience, and the limitless potential of human expression beyond sight and sound.

The ultimate goal of this work is to recognize and honor the resilience and beauty of individuals who live with sensory challenges, delivering the depth of expression beyond words to the audience and expanding the realm of empathy with those who navigate the world differently. It is a powerful performance aiming to convey this message.

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Horizon Line was shown at the Cyberfest-7 (2013) in Berlin, at the space of The WYE.

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Drawing from Nassim Nicholas Taleb’s timely and relevant book from his Incerto Series, “Antifragile,” and the notion that individuals can gain from the impact of highly improbable events, this triptych and evocative soundscape offer three meditations on a selection of black swan events, including 911 and its aftermath, the 2008 Lehman Brothers bankruptcy and collapse of the global financial market, the sinking of the Titanic, and the recent rise of ChatGPT. The score in particular explores perceived randomness and variability through algorithmic electroacoustic composition and granular synthesis. 

Adam Hogan 

Adam Hogan is a media artist, cinematographer, composer, researcher, and advocate for film and media preservation. His work engages experimental approaches to moving image and sound by using the mediums themselves through production and development to explore how media technologies shape our perception and relationships to spaces and histories. His work and collaborations have been featured in numerous national and international festivals, exhibitions and collections including: Ars Electronica, International Symposium on Electronic Art, CYFEST-13, Smithsonian Institution, Berlinale, Athens Digital Arts Festival, and more. Hogan holds a Ph.D. in Digital Arts and Experimental Media from the University of Washington, Seattle, USA. 

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The installation explores the concept of audio-visual sampling, in which real-world images and sounds – captured and digitized – are cut, mixed, manipulated, and reassembled in order to generate new audio-visual materials.

In particular, Francesc has been experimenting with how granular sound synthesis techniques and pseudorandom number generator algorithms – where a computer program produces seemingly random numbers – can be used for generating audio-visual creative works.

The name is taken from this quote by Andrei Tarkovsky, who wrote in ‘Sculpting in Time’: “I feel that the sounds of this world are so beautiful in themselves that if only we could learn to listen to them properly, cinema would have no need of music at all.” 

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A metaphorical waltz of the working class man in a heavenly blue ginger space. The graceful movements honed from virtually endless exercises. Prototypes and their emanations visualized lose and re-find each others in the lace of light and darkness.

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A dig­i­tal printer had been mod­i­fied so that it can con­tin­u­ously per­form print­ing on a looped-back sheet of pa­per, run­ning through cy­cles over and over again. An ink sup­ply sys­tem – con­tain­ing a 5 litre can of ink con­nected to the car­tridge is then con­nected to the hacked printer, it is thus able to print non-stop through­out the du­ra­tion of the whole ex­hi­bi­tion, about 2 months, re­lent­lessly re­pro­duc­ing the same line ‘I print, there­fore I am’ (rephrased from ‘I think, there­fore I am’- René Descartes, Dis­cours de la Meth­ode, 1637).

Through con­tin­u­ous repet­i­tive ac­tiv­ity the printer man­i­fests its own ex­is­tence, func­tion­ing in ac­cor­dance with the prin­ci­ples of me­chan­i­cal, in­dus­trial and con­sumer cul­ture, formed dur­ing the 20th cen­tury and now be­com­ing some­what ob­so­lete. This work also ref­er­ences that the ori­gin of these prin­ci­ples evolved from the in­ven­tion of print­ing tech­nol­ogy, which re­mains the tem­plate for all sub­se­quent mech­a­ni­sa­tion.

It is ob­vi­ous that the “Ty­po­graphic trance” is be­com­ing ob­so­lete and is re­placed by more so­phis­ti­cated me­dia tech­nolo­gies which pro­vide us with more op­por­tu­ni­ties for proac­tive re­ac­tion. In this con­text spec­ta­tor is pro­posed to think of the printer, as the world’s last work­ing printer, still print­ing, re­lent­lessly and point­lessly, with­out be­ing aware of the fact that new logic has come into force.

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