Artist Statement
My work explores the essence of humanity within the digital age, seeking to capture and preserve fleeting human memories and movements. I am captivated by the idea of an alternate reality, where human existence is reduced to a series of digital codes.
Drawing inspiration from philosopher Nick Bostrom’s simulation hypothesis, I contemplate the role of computational processes and their influence on our perceived reality. The concept that the speed of light could indicate a simulated universe intrigues me, suggesting that space itself may be a constructed entity within a larger framework. I wonder where religion fits in with this, and the crossover between Neo-Platonic emanation theory with Jean Baudrillard‘s theory of simulacra. I’m intrigued by quantum physics and the behaviour of particles, and the life span of digital objects; whether we are, or will become digital objects ourselves.
Having grown up in the analogue age, where these theories were not digitally tested, and when technology was quite primitive, I feel I am in a unique position to explore these theories in my work.
Contextual Statement
Temporal Realities is a showcase of four interconnected, immersive projected films that explore themes of existential philosophy, mortality, and simulation theory. The audience encounter with the works is integral in exploring these themes, because “We ourselves are screens” (Jean Baudrillard)
The exhibition was staged as a ‘one night only’ event, allowing it to capture the unique spirit of the space and engage visitors in a compelling and immersive experience, all of which was enhanced by the feeling of transience.
Each film shown in exhibition served as a visual meditation upon the fragile boundaries that delineate reality from illusion, utilising vivid colours and interspersed soundscapes to encapsulate philosophical and scientific inquiries put forth by Plato, Baurillard, Wignor, and others.
The interplay between sound and vision creates a compelling dialogue between memory and moment, transience and permanence, and the intangible and physical state of being.
The films are shown in a particular overlapping arrangement. This entangles the images as well as the sounds, as they fight against and complement each other in delivering the narrative.
Surf’s Up
The first film serves as a pictoral reflection of NeoPlatonic Emanationism, which posits that all people return to the One, from which they emanated. The theory resonates with a number of religious factions who all tether the theory to a belief that death is the physical separation of the soul from the body.
The film poses a profound query about how we recognise reality. Is it through haptics? Is it through vivid colour? This notion echoes Zhuangzi’s philosophical musing. The poignant song ‘Surf’s Up’, a play on words that could describe approaching a challenge or submitting, emerges amidst this exploration. The film presents a captivating array of visuals, encompassing animated sequences and digital paintings, alongside found footage sourced from analogue video in my collection. These images intertwine in a mesmerising fashion, drifting in and out with the waves that carry the found sounds continually interrogating our perception of reality and our relationship with the ego and the universe.
Ultimately, the film concludes with the reminder that every ending heralds a new beginning, reinforcing the notion of an infinite universe devoid of conclusion.
Digital Dispersions
The second film encompasses the Double Slit theory of Photons. The original double-slit experiment showed that light acts as a wave. Further experiments, however, showed that light actually behaves as both a wave and as particles – depending on whether it is being percieved – revealing its quantum nature. The theory was embraced by spiritual factions, who believed that the photons were aware of their perception because of a divine entity, making it arguably the first time that Religion agreed with a Scientific principle.
The film is perhaps the most abstract offering in the exhibition, distinguished by its composition of synthetic cubist planes of colour that arrange and rearrange themselves in infinite configurations. This approach serves as a visual representation of our exploration into simulation theory, encapsulating the notion that reality itself may be no more than a sophisticated arrangement of pixels, and subtly referencing the quantum behaviour of photons.
The internal struggle to define one’s identity is articulated in the song “I Just Wasn’t Made for These Times,” by Brian Wilson, and accompanied by found sounds and recordings.
Charlie Don’t Surf
Simulation theory posits that our perceived reality may be an artificial construct, echoing the philosophical inquiries of Baudrillard, particularly his theory of hyperreality. In his works, Baudrillard asserts that simulacra—copies or representations—have become realities in themselves, obscuring the distinction between the real and the simulated. As culture continually references itself, original meanings dissipate, leading to a profound transformation of reality that is increasingly unrecognisable; we cannot be sure of the original source. This complex interplay compels us to ponder whether we inhabit an authentic reality or merely a sophisticated simulation.
“Apocalypse Now,” serves as a commentary on the reproduction of images and their intrinsic role in shaping culture. In this case, Apocalypse Now intertwines fictional events with factual history, effectively creating a layered representation of the Vietnam War, which has subsequently become iconic, and repeatedly referenced in the broader cultural landscape.
Central to “Apocalypse Now” is the metaphor of a journey into the self. What begins as an adventurous expedition deteriorates into a descent into hell, prompting the characters to harden emotionally and withdraw from their humanity.
Electric Dreams
The final film explores the lifespan of digital objects. The concept of digital objects raises profound questions regarding the essence of human sentience and the potential for an independent existence within digital realms. Traditional philosophical inquiries into the soul seek to discern the vessel housing our consciousness; is it the human form, or could it be transposed onto digital platforms? The notion of uploading one’s consciousness into digital media provokes both ethical and existential dilemmas. While current technology does not permit true replication of sentience, the hypothetical emergence of sentient digital entities (often posed to us through Science-fiction) challenges our understanding of life itself. Should such entities arise, they would necessitate a re-evaluation of the definitions of autonomy and existence, thereby blurring the lines between human and machine in an increasingly digital world.
The film weaves its narrative through various cultural references, such as ‘Twin Peaks’, ‘Star Wars’ and cult comedy classic, ‘Red Dwarf’. ‘Twin Peaks’ introduces mysterious realms which mystically manifest as a parallel universe only accessible in dreams, and only escapable into ‘reality’ through electrical power outlets. Perhaps as our identities and experiences become increasingly integrated with technology, all digital reproductions of ourselves may become disembodied entities that persist through the conduit of electricity. This thematic exploration of electrical embodiment extends to the character of Rimmer in the series ‘Red Dwarf’, who exists as a hologram. Initially depicted as an intangible digital ghost, Rimmer undergoes a transformative upgrade from ‘soft light’ to ‘hard light’, enabling him to engage physically with the environment, thereby rekindling the tactile sensations of human existence. In essence, he is digitally reborn.
More Information and Contact
@emily_pincherbradley
emilyart5.wixsite.com/emilypincherbradley