The internet and our digital environments have crated parallels. Using physical reality as the original text, an extension of our world that runs and slides atop what is seen and experienced physically has been created. Mark Dorf’s series “Parallels” poetically examines the navigation of and the existence within this digital landscape.
The internet and our digital environments have crated parallels. Using physical reality as the original text, an extension of our world that runs and slides atop what is seen and experienced physically has been created. Mark Dorf’s series “Parallels” poetically examines the navigation of and the existence within this digital landscape.
The internet and our digital environments have crated parallels. Using physical reality as the original text, an extension of our world that runs and slides atop what is seen and experienced physically has been created. Mark Dorf’s series “Parallels” poetically examines the navigation of and the existence within this digital landscape.
Mesh Translation #4 comes from Mark Dorf’s 2014 series Emergence that was developed at the Rocky Mountain Biological Research Laboratory. While working at the lab, Dorf’s images became influenced by the collection and analysis of data and how this data is an abstraction of our sensory experience. Despite the abstract quality of collection and analysis, it is through these processes that science is able to produce knowledge about the world. Similarly abstraction throughout the history of art also activates a mode of knowledge production.When the prints from this series were initially exhibited, these animations were distributed online as a counterpoint. The form seen in the composition is generated from a photograph: each pixel in the photograph aligns with a vertex on a 3D virtual mesh and depending on the brightness of the pixel information, the vertex will rise or fall.Through this treatment, all images become comparable for all that is left is color information and 3D form—what was formerly the subject in the image is entirely lost. Ansel Adams Half Dome is suddenly on the same formal level as a product shot from Amazon.com. This kind of transformation of data that makes seemingly disparate subjects comparable is often utilized in ecology and other scientific modes of inquiry.
Mesh Translation #3 comes from Mark Dorf’s 2014 series Emergence that was developed at the Rocky Mountain Biological Research Laboratory. While working at the lab, Dorf’s images became influenced by the collection and analysis of data and how this data is an abstraction of our sensory experience. Despite the abstract quality of collection and analysis, it is through these processes that science is able to produce knowledge about the world. Similarly abstraction throughout the history of art also activates a mode of knowledge production.When the prints from this series were initially exhibited, these animations were distributed online as a counterpoint. The form seen in the composition is generated from a photograph: each pixel in the photograph aligns with a vertex on a 3D virtual mesh and depending on the brightness of the pixel information, the vertex will rise or fall.Through this treatment, all images become comparable for all that is left is color information and 3D form—what was formerly the subject in the image is entirely lost. Ansel Adams Half Dome is suddenly on the same formal level as a product shot from Amazon.com. This kind of transformation of data that makes seemingly disparate subjects comparable is often utilized in ecology and other scientific modes of inquiry.
Mesh Translation #2 comes from Mark Dorf’s 2014 series Emergence that was developed at the Rocky Mountain Biological Research Laboratory. While working at the lab, Dorf’s images became influenced by the collection and analysis of data and how this data is an abstraction of our sensory experience. Despite the abstract quality of collection and analysis, it is through these processes that science is able to produce knowledge about the world. Similarly abstraction throughout the history of art also activates a mode of knowledge production.When the prints from this series were initially exhibited, these animations were distributed online as a counterpoint. The form seen in the composition is generated from a photograph: each pixel in the photograph aligns with a vertex on a 3D virtual mesh and depending on the brightness of the pixel information, the vertex will rise or fall.Through this treatment, all images become comparable for all that is left is color information and 3D form—what was formerly the subject in the image is entirely lost. Ansel Adams Half Dome is suddenly on the same formal level as a product shot from Amazon.com. This kind of transformation of data that makes seemingly disparate subjects comparable is often utilized in ecology and other scientific modes of inquiry.
untitled14 comes form Dorf’s 2012 body of work titled //_PATH. Throughout the series Dorf explores the proliferation of digital technology and the internet noting that the idea of logging off is no longer an option— rather than pushing against and rejecting the, at the time, newly realized networked culture, the images in //_PATH ask the viewer to consider a harmony between the Digital and non Digital, and to see the two as being cut from the same fabric. This animated version of untitled14 was circulated on the web at the time of the series first exhibition.
untitled13 comes form Dorf’s 2012 body of work titled //_PATH. Throughout the series Dorf explores the proliferation of digital technology and the internet noting that the idea of logging off is no longer an option— rather than pushing against and rejecting the, at the time, newly realized networked culture, the images in //_PATH ask the viewer to consider a harmony between the Digital and non Digital, and to see the two as being cut from the same fabric. This animated version of untitled13 was circulated on the web at the time of the series first exhibition.
untitled9 comes form Dorf’s 2012 body of work titled //_PATH. Throughout the series Dorf explores the proliferation of digital technology and the internet noting that the idea of logging off is no longer an option— rather than pushing against and rejecting the, at the time, newly realized networked culture, the images in //_PATH ask the viewer to consider a harmony between the Digital and non Digital, and to see the two as being cut from the same fabric.
This animated version of untitled9 was circulated on the web at the time of the series first exhibition.
Landscape 4 is a continuation of Mark Dorf’s inquiry into the perceptions of and interactions with “Nature”, urbanism, design, and technology. As opposed to seeing these subjects as categorically separate, Dorf reveals their entanglement and integration, and speculates on a future planetary ecology.