Thoughts on "The Wall of Gazes" exhibited at the MOOLA

 

I had the real pleasure of visiting the current exhibition Arteonica at the Museum of Latin American Art in Long Beach, CA. There were the works of several artists, from Chile, Argentina, Mexico, Switzerland, Brazil. 

The work that impacted me the most was "Wall of Gazes" by Argentinians Mariano Sardón and (neuroscientist) Mariano Sigman. The videos, depicted as transforming portraits were mesmerizing. 

All portraits are superimposed images in videos, the algorithms keep on changing until the face is formed or partially formed. 

From Ars Electronica:

"The Wall of Gazes consists of one screen in which visitors can see how portrait images are revealed by the eye movements of many persons simultaneously. Gazes were captured by an eye tracker device. Around 100 participants were seated in front of a portrait image and the device recorded their gazes for 15 seconds. The screen is connected to a computer and a special software displays the eye tracks stored in a database. Portraits are ever-changing composition, according the gazes captured and displayed by the software." 

The eye tracking data was generated at the Muntref Centro de Arte y Ciencia. Universidad Nacional de Tres de Febrero. Buenos Aires.

It immediately came to my mind the relationship between architectural perception and neuroscience. I researched a little more about this project, and I was pleased to see that it was applied to migrants' memories, to movement, from one country to another as well.

From Mariano Sigman's page:

"Hiwa K tells that border officer ask immigrants questions about the map of his hometown. Most immigrants, like anyone who is asked random questions about the geography of their city, fail the test. This story is the inspiration of our project. We live in small, sparse fragments of our city. The road to school, the bus to our grandmother’s house, the square where time passed relentlessly. Each person has her own city. In this work we investigate this distant memory of an individual’s memory of the city in which they lived. We looked a map while we heard stories by people who moved from Mexico to the United States, from Syria to Austria, from Bolivia to Argentina. Then we reconstruct this, cutting the trajectory of the eyes on a paper map. Because of its own lightness, this map bends when it leans on wood and forms bridges that connect places that are distant in the city, but close in memory."

I think that it would be a step forward to "measure" the perceptions on the architecture that is affected by the dwellers' memories and traditions. In other words, to leave the 2 dimension of the map and see what happens when people is confronted with cultural information on the built environment. And which is the perception of people while observing this, depending on their nationalities and or their studies degree, their intellectuality. For example, I was walking in my neighborhood and saw the -following- homage for the Day of the Dead. The neighbors, I assume, must be Mexican or descendants, but living in the USA, and are expressing themselves with their hearts. Regretting the losses of their young relatives. 

These articulations, the fine details, the offerings, have a real impact on architecture, the altar is like becoming part of it. The facade is completely integrated to the force of culture. Definitely, the three dimension would be worth of farther analysis. 

Altar in my neighborhood, Long Beach, CA. From my personal archives, November 2024.

*All pictures by Myriam Mahiques, November 2024. Please do not share without permission.

Contemporary spatiality: experiencing a multitude of cells

The Euclidean display and overall design of a room inside the MIT museum, Cambridge. Personal archives, 2024

Inside the MIT museum, Cambridge. See how the free standing displays have the same conceptual design as the displays on the wall. Note the shape of the benches as well. Personal archives, 2024.

 I have been thinking about current semiology in architectural spatiality. There is a new meaning based in our contemporary digital pre-conceptions, the different options of spatial relationships and representation techniques. We are becoming more skilled at abstracting the external stimuli, hence the qualities of the objects, since we have so much available information and optical devices to select, being the cell phone the most typical example that allows us to see the world filtered through cameras....

Spatial cognition depends on many factors: our culture, our experience, gender, age, social context, etc. I am particularly influenced by long years working on urban morphology with different mathematical software, but this time, I have also felt impressed by my recent visit to MIT (Massachusetts Institute of Technology) and Harvard museums. The architectural arrangement of the MIT technological exhibition captured my attention as unusual -due to my unconscious expectation of a typical exhibit- . At least in one room, the objects were enclosed by cubes defined by linear lighting. Every cube or rectangular prism, could be seen as a cell. So I missed the interior object in order to recreate the spatiality of the room, or even the wall, since it became a 3D Euclidean construction at a short distance, so pure and strictly mathematical.

Harvard Museum of Natural History. See the many reflections on the glass displays. Personal archives. 2024.

Harvard Museum of Natural History. See the many reflections on the glass displays. Personal archives. 2024.

Of course my mind is ready to understand and digest the contemporary exhibit, but when I visited the Harvard Museum of Natural History, I was walking among glass cells, which is quite different from the other Natural Science museums. All of a sudden, the 3D cells were conforming space, and progressively, there was this feeling of being dehumanized, one is immersed in a multitude of reflections (our own and the animals'), like a in mirror maze; the archaeology becomes part of the fantasy. 

Immersive Van Gogh, Los Angeles. Personal archives, 2021.

Immersive Van Gogh and the static experience. Los Angeles, personal archives, 2021.

Somehow, the historical composition in Harvard is a sort of prelude to the imaginary current immersive experiences, like Van Gogh's among so many others, with a substantial difference though, the cells and their contents are tangible, the person walking along the displays is lured by the animals, and the experience is dynamic, interactive, the space is re-created by the circulation towards a point of interest (a window, a staircase, an exit....), while the immersive art is realized with distant projections in an empty building, usually a warehouse, where people stand or sit still and the space is conceived by just one's mind perception of the moving images; the orientation is given by the location of isolated structural elements, like a staircase or columns.

Aerial view of Los Angeles Downtown and suburbs, California. Personal archive, 2024.

The spatial perception becomes completely different when we change the scale or the point of view.

I still remember the first time arriving to Los Angeles by plane, I was wondering where is Downtown? My first impression was the industrial flat areas with so little landscape, all of them rectangles. And a colleague of mine reminded me the great purpose of Los Angeles: the creation of movies in an extended city that sells lots of cars: in consequence, the industrial zoning is quite noticeable. 

This year, I had the chance to enjoy the aerial views that I am sharing here, and finally I have seen Los Angeles from above and afar, all blue filtered by the plane window and the residential low areas with lots of dark green. I made the effort to zoom my cell phone camera as much as I could, but for every capture, my impression was that I was looking at a pixelated city. Without history or social input, I was observing the result of Zoning codes, a map created with pixels, quite monotonous, even in its third dimension, and monochrome. While the plane was flying to destine, the view was still a multitude of little cubes and prisms like a projection on the ground where I was not immersed at all. For me was another version of the museums cells experience.

Aerial view of Los Angeles Downtown on the left and suburbs with a huge industrial area, California. Personal archive, 2024.

Antoine Picon, in his article "Anxious Landscapes: From Ruin to Rust" (2000) * on a similar idea, adds the concept of distance and texture, as explained in the following excerpts:

"...the anxious character of many contemporary landscapes is the indication of profound transformations affecting the definition of the subject who contemplates them,..."

"....this is not the first time that the look that we cast over our surroundings has been modified. Each time, such a transformation proves inseparable from a mutation of the ideal image we project of ourselves."

".... one cannot help by be struck by the extent of the mutations that already affect the category of vision."

".... familiar forms seem to give way to luminous effects -scintillations, iridescence, reflections- as well as to textures often based upon contradictory impressions like smoothness, glossiness or graininess. Configurations, both immediately perceptible by the senses and more abstract, substitute themselves for the contours of the world that is familiar. Seen by satellite, Los Angeles doesn't look much different from a section of matter observed in a microscope. The importance of the dominion of lights and textures in the contemporary technological landscape could well originate from this transformation in the categories of vision . Such a transformation leads us to suspend, if only provisionally, questions such as those of "far" and "near." Who tells us that it's Los Angeles we're contemplating, instead of a piece of sidewalk?.... the contemporary urban landscape is organized according to textures that owe more to woven design than to form in a traditional sense."

* From Architectural Theory. Volume II. An Anthology from 1871-2005. Page 595. Massachusetts, 2010.

A partial detail of a tapestry exhibited at the Boston Museum of Fine Arts. It is similar to an aerial view of a residential neighborhood and a central district. Personal archives, 2024.