VIEW IN MY ROOM
Cyberbride Artwork
Slovenia
Digital, Digital on Paper
Size: 15.7 W x 23.6 H x 1.6 D in
About The Artwork
Cyberbride (1998) is another classic Web work. It parodies “dating service” and international match-maker questionnaires, whether on line or in the personal ads, with their reduction of a “bride” to a sexual partner and a sexual partner to a set of attributes selectable from a “remote”. As the page opens, we have only the remote, but as we make selections, thumbnails appear for each choice made. At the left, the screen capture includes the thumbnails for the choices eyes:black, place:bedroom, she likes: anal, she talks:nice, and she wears:body (partly cut off in screen capture; no choices for hair, tits, drives, or listens to a sample of the music chosen begins to play). The only problem is of course that the bride is not assembled into a single whole figure, but remains a scattered array of parts. But, so Spiller seems to be saying, is that not what we do when we make lists of attributes, whether our own or those of another person? The most we get is a sort of multimedia collage, not a picture of the cyberbride. Here the viewer is implicitly represented by the Remote and hence is cast in the role of consumer sitting before a Web-TV. ( by George L. Dillon: Writing With Images, University of Washington, 2002 )
Original Created:2001
Subjects:Erotic
Details & Dimensions
Digital:Digital on Paper
Original:One-of-a-kind Artwork
Size:15.7 W x 23.6 H x 1.6 D in
Frame:Not Framed
Ready to Hang:No
Shipping & Returns
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Slovenia
I use machines to create art, wondering if machines will one day understand my art. Computers, mobile phones and robots are strongly getting into our minds. We are more and more behaving like machines, while Intelligent devices are more and more behaving like humans. Once there might be no difference between the machine and the human at all. I examine different forms our technology based society takes, and the motives that lie behind it. I use the copy-paste culture, post-production and modularity as the common denominators of the digitized worlds. Altering them is a way of questioning the attitudes, fears, unwritten rules, opportunities and dangers which have formed that environment and our behavior within it. Aesthetics and ontology of my work are strongly related to my working process. I take icons, symbols and other entities from the mediated reality and combine them in algorhytmic ways. I strive to convey that sense of algorhytmic simplicity by capturing its algorhytmic language.
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