Rent my lonely album
Introduction
Opening a webpage and physically going somewhere are different experiences, but efforts are being made to bridge that gap. Whether it’s making the online world more like reality or speeding up offline activities, there’s a possibility that these two realms might merge in the future. The screen, acting as a versatile medium, plays various roles, from representing images to controlling interfaces. Each change represents a significant step toward new technological forms. As we push boundaries, technology becomes a more realistic means of expression, relying on different technical foundations. This complexity is seen in interactive scripts, the connection of elements, and the blending of physical and virtual spaces. Exploring the role of the screen in design reveals that technology will be more active in shaping reality in the future. This prompts questions about whether we should resist the idea of people becoming extensions of technology and how we can optimize our role in this evolving landscape. The article also considers the changing roles of individuals and how people can adapt to these changes.
Simulation screen
Originating from the quadrilateral formed by intersecting lines, humans evolved in their choice of scenery and the way they absorb information through screens. Zhou Wenju (fl. 942–961), the court painter of the Ten Kingdoms period during the Five Dynasties of China, transcended the limitations of a singular visual screen. In his work, “Playing Chess before a Double Screen,” he employed a large flat screen, accompanied by a three-folded landscape screen and two additional large screens. Noteworthy for introducing a sense of depth to the pictorial space, Zhou Wenju is renowned for his innovative use of double screens.
Intentionally manipulating perception across multiple dimensions of time and space, the painter skillfully blurs the lines between reality and art in his triple-layered composition. The viewer is subtly led to believe that the depicted scene in front of the screen is an integral part of the tangible world. This deliberate fusion achieves a flawless illusionary effect, marking Zhou Wenju’s mastery in creating a perfect illusion within his artwork.
The nested narrative structure employing a double screen necessitates viewers to engage with visual argumentation. When the line between virtual and real scenes blurs, giving rise to a stacked optical illusion reminiscent of the Droste effect. Replicating this visually on the screen interface disrupts visual recognition, steering towards a solidification of obsession with authenticity. It prompts the realization that everything can be a simulation, marking the initial move toward loosening the constraints of the screen frame.
Controlled by screen
Today’s screens play a more active role, enabling nested narratives and implying a certain level of control. However, their reality often involves being subject to power relations. In Hito Steyerl’s “A Thing Like You and Me” from “The Wretched of the Screen,” there’s a shift from the ‘subjected subjective unrepresented’ to the ‘objective represent’. This exploration delves not only into the internal representation of the world but also into the interactions with the world and among world-objects.
For instance, consider the view from CCTV, where screen surveillance is deeply intertwined with surveillant systems, shaping our everyday lives. This connection is part of an international multiphase project on Big Data Surveillance. Screen surveillance has become pervasive, influencing all aspects of the world. Organizations collect and analyze information, determining various outcomes as either worthwhile or unuseful.
Looking ahead, is technology merely an extension of people? No, it seems more likely that people will become extensions of technology. Consider the scenario where airports employ “non-invasive neuro-electric sensors” not only for screening terrorists but also with the intention of delving into your thoughts. This paints a picture of an unseen world of screen surveillance enveloping us. Perhaps the only recourse for individuals is to adapt and undergo self-transformation.
Anti-engulfment from screen
The material world has evolved into an expansive surface, blurring the once-distinct boundaries between humans and machines. In Hito Steyerl’s exploration of “Across the Screen: Images in Transition,” the shift of images from screen to reality has instigated a profound transformation. Amid this journey across the screen, images lack constancy. Through materialization, ideas undergo translation, bruising, and reconstruction, altering their perception, environment, and operational speed.
A seemingly innocuous nail art video clip can incite a fervent response on Instagram, a simple upload can escalate into an online conflict, and a dynamic GIF image can assume the presence of a museum hall. It mirrors a battleground of machines that humans must confront. Television images are no longer confined to the screen; they are breaching into reality.
Given the passive role humans seem to play, can we effectively navigate the pervasive influence of screens and actively intervene in the machinery to shape scripts and make choices? The established hierarchy between the virtual and reality of visuals has been shattered. It’s high time to initiate a transformative endeavor: Rent my solitary digital album. This initiative invites people to proactively intervene on the screen, liberating us from the clutches of network control and surveillance.
References
[1] Wu Hung, The Double Screen: Medium and Representation in Chinese Painting (1997) University of Chicago Press
[2] Hito Steyerl, The Wretched of the Screen: With an introduction by Franco “Bifo” Berardi (2012) Sternberg Press
[3] Hito Steyerl, Too Much World: Is the Internet Dead? Journal #49 — November 201,e-flux
[4] Rob van Kranenburg, Real Rules of Innovation for the 21st century, Article (2009)
