Visible And Invisible Forces Of The Singularity

The review by ngel Kalenberg of the book MediaArtHistories at network_performance elaborates on the subject of my post, What Can’t Be Seen, Must Be Shown:

Art’s mission, maintained Paul Klee, is to make the invisible visible. Rilke added that “we are the bees of the invisible.” Normally, art is composed of a material that an artist works, armed with a technique to achieve a form. Thus, Robert Klein held that Alberti, Brunelleschi, Leonardo, and Durer sought to render the idea intelligible in and through the palpable form.     

Architecture[s] of control, feedback and surveillance are integrated into the fabric of our built environment; increasingly absorbed into its material-texture and as a result, has become an indistinguishable component of spatial signification. Despite the ostensible influence of communication technology on the real world built environment, we have yet to feel any significant pressure from virtual worlds (like Second Life) or even MMOPGs (like the hyper-active World of Warcraft), on the conception of concrete, real world architecture, and perhaps more importantly, on the sensation of space, form and the urban environment.The impact 3-D synthetic worlds will have to wait;  a unique expressive media must first be discerned from the mass of collective intelligence that is latent within these immaterial places. Those spatial and graphic codes, a pattern language of synthetic space, will be the lone force capable of metaversal autopoiesis, exerting its influence by being rendered visible within the material landscape. This development will be perceived as the singularity’s formal manifestation, a radical vision for art and architecture:

The forms that emerge from the new technologies, instead, eschew all ambition of representativity; consequently, in the new ars emerging from digital art, it is the invisible that produces the visible.