notes.husk.org/likes images.

Screen capture from Wild Palms (pilot), directed by Phil Joanou, 1993. Via. Bottom, Samara Golden, from The Flat Side of the Knife, 2014, installation at MoMA P.S.1, New York.  Via.

The TV series Wild Palms focused on a future Hollywood in a fictionalized 2007 where an underground movement, the Friends, were in resistance to the right wing Fathers who owned the media and had political and religious control. The way the populace were manipulated and controlled was through a virtual reality holographic technique ‘Mimecom’. The protagonist’s son is set to star in a Channel 3 series “Church Windows” using this new media, which would project a holographic character into your domestic space. Here the screen literally broke out of the fourth wall and touched you. This was an exploration of the possibilities of virtual reality (sometimes exaggerated by an addictive drug mimezine).

Francesca Gavin, from the keynote lecture Watch This Space at STRP Festival March 2015. Via.

The Flat Side of the Knife combines physical spaces with illusory spaces that appear only in mirrors, reflecting what the artist refers to as “layers of consciousness,” akin to psychological and hallucinatory spaces in the mind. Her use of mirrors in conjunction with sculptural elements made from a silvery insulation board, known commercially as Rmax or Thermax, allows the illusion of space to expand in multiple directions; creating imaginary depth below the gallery floor, for instance, or suggesting adjacent rooms that do not actually exist.

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Every kind of ignorance in the world all results from not realizing that our perceptions are gambles. We believe what we see and then we believe our interpretation of it, we don’t even know we are making an interpretation most of the time. We think this is reality.

Robert Anton Wilson. Via.