To make any kind of form today that acknowledges that our human-constructed world and the larger natural world(s) are converging is an attempt to reunify spaces, and it is in these new hybrid forms/spaces where the notion of architecture can be revisited and seen as place-making for the future. In an attempt to define how these forms could evolve into spaces, I construct scenarios where through the process of observation one can witness the cumulative impacts that the layering of disparate technologies (older non-human technologies included) have had on our experience of the larger natural world.
By layering recent and older technologies into new form, life is constantly opening up new evolutionary niches for waves and their corresponding particles to do something with and communicate through. GHOST TECH can be thought of as what really happens in our shared natural world (humans being but a part) when new technologies partner with slightly older technologies to create new niches for life and form to grow/adapt into. GHOST TECH is the wordspace that includes my work along with that of horseshoe crabs and Nam Jun Paik and Mycelium and Umberto Boccioni.
The loop that connects human biology to human culture is ripe for other life forms to observe and adapt into. To think that virtual worlds will only be occupied by human minds is anthropocentric thinking. Human innovation is fair game for any kind of intelligence to partner with, and the exploitation of it is not just a possibility, it’s a probability. We should be inviting ghost intelligences into this techno-sphere so we can quickly adapt into the present and future world.
Resulting from this idea that all sorts of beneficial intelligences are lying in wait and ready to innovate given the slightest opportunity, I have come to view the material world and its resources in an ecologically conservative way.
I make artwork with the notion that our human-constructed world and the larger natural world are converging, and that technologies from both realms are wrapping around each other and making new space.
The idea of being able to participate in an evolving system that is open to new modifications and interpretation is key to how I involve myself in making form. If we look at human technology through the broader lens of deep time, then our 20th century achievements (through contemporary prosthetic-like tools) do not look so abnormal. The car is an extension of our legs, and our legs grew out of a place in our backbone where a tail used to be. That was possible because before we were mammals we were fish swimming in water. There is a direct and traceable line of cause and effect that can direct us back in time to these evolutions. From this observation it is not much of a stretch to say that the future of this line is not set in stone; on the contrary, it is surprisingly malleable. This system is hungry for a diversity of ideas and ways of making if it is to remain strong and healthy. It is only through a diversity of options that a future for our world as we know it is possible, and it is through art that these choices can be produced and communicated.