Supporting images and text of submission to MutaMorphosis

Online Survey on HOW ELASTIC ARE YOU?

Tools For Elastic Thought

The topic of uncertainty as described in the theme of MutaMorphosis 2012 is connected with qualities of fuzziness, blurriness, and vagueness. I refer to this range of options, values or states in my research by the term of elasticity and flexibility and argue that current situation of hybridity demands a heterogeneous, complementary approach and blend of methods, hence an elastification of perception and cognition.

My enquiry investigates how the concept of flexibility enables a fluid way of thinking about events and experiences entangled in dynamic relations yet constrained by human made definitions, structures, models, ascriptions and methods. Ultimately a creative enquiry in the form of a series of performative experiments embedded in a framework that reinterprets the theoretical discourse, thought models and knowledge production, I trace these discursive exchanges and developments among different areas (physics, semiotics, geometry, philosophy) to demonstrate how structures, hierarchies and standardisation influence our thinking and how the increasing complexity allows and even asks for the integration of dynamic and unstable qualities in current theories and practices. The research is therefore an exploration on the flexibility of human made constructions such as standards, units, metric systems, scales and classifications and the manipulation of the respective tools and devices to set, determine and map these informations. These tools, instruments and inscription devices construct our reality (Latour, 1979). My enquiry is an artistic approach to the mobilisation and flexibilisation of information, concepts and practice. Theoretically led and inspired by the writings of Bergson, Deleuze and Guattari, Latour and Sloterdjik, I am employing the method of diffraction (Barad, Haraway), détournement and dérive (Situationist International, Debord), ANT (Latour) and relational aesthetics (Bourriaud) to translate my findings into experiences, installations and visualisations.

In the development of Tools for Elastic Thought I’m following a Duchampian approach by transforming and manipulating simple objects (ready-mades such as measurement devices and respective diagrams) into contemplative artefacts, allowing and emphasizing the flexible potential and agency of these objects, making their elasticity tangible. Taking the concept of inscription devices from Latour further and employing Barads idea of agential realism, she states:”… apparatuses are material (re)configurings or discursive practices that produce material phenomena in their differential becoming.“ (Barad 2007). This discursive practice and differential becoming can be related to de Certeaus strategies and tactics (1984). Buchanan describes the difference between strategic and tactical practice as: „Strategy is a technique of place, and tactics is a technique of space“ (2000) explicating that strategy is trying to control, reduce and narrow down the variability of a situation or context by confining a ‘protected zone’ of reference while tactics offer options and operate within a space of spontaneity and unpredictability. In this sense, Latour speaks about a “space” which is offered by the thought model of networks and by metaphors of spheres in the writings of Sloterdjik (2009).

Speculative approaches, stress tests and experiments in regards to probabilities allow for space and room to manoeuvre, to interpretate and to manipulate. These interstices within patterns and structures are needed as latitude and leeway for bending and twisting processes of thought and practice to answer current complex questions of reality.

Methodologically the exploration is undertaken through practice-based research consisting of a series of experiments in the area of critical design to understand and extend the cultural, social and ethical implications of structuring, inscribing technologies and respective formats. With critical design I am referring to the approach from Dunne and Raby who use speculative design „to make us think. But also raising awareness, exposing assumptions, provoking action, sparking debate” (Dunne and Raby, 1999). Furthermore I employ cultural probes, an experimental research method to study new, uncertain environments developed by Gaver, Dunne & Pacenti, 1999. Cultural probes are mobilised here to explore concepts of elasticity and to test how these concepts relate to perceptual and cognitive patterns of time and space. The prototypes of Tools for Elastic Thought should be tested in DIYbio Expo 2012 and link and feedback to the streams of Adressing the Future, Philosophical Toys Today and possibly Time and Technology. In terms of temporality, continuity and elasticity, Bergsons notion of duration and his metaphor of an elastic band being stretched will be the vehicle and mediator between the streams of uncertainty.


Ferret Out Loopholes at Articulate in Sydney


Happy to exhibit my work at Articulate’s progressive Ferret show (13.02.-26.02.2018) in Sydney: Ferret Out Loopholes – stay offline for the day without TV, email or social media. Unfollow and unfriend. Declutter dependencies. Shift priorities. Downsize consumption. Reconsider commitments. Learn new skills. Stop buying. Turn off all notifications. Focus on real life by keeping whole days unplanned.


I am in a new bubble


Bubble Timer (2016)  with Peter Minson

ARTICULATE, Sydney – seven artists celebrate

#Sydney #sydneyart #articulate #glitchart #mixmediaart #photography #modernart # contemporaryart #art #atelier313 #installationart

featured artists

Bet(tin)a Bruder featuring Andräa Schmidt featuring Carmen Luippold featuring Roohi Ahmed featuring Vanessa Henn featuring Hiroko Tanahashi featuring Sandra Heinz featuring forever, 2017, mixed media.
Articulate turns seven, 9 – 23 December 2017, Friday to Sunday, 11-5pm

Finland swamp experience

Happy participant in the workshop from Jamie Allen, Martin Howse and Jonathan Kemp at Hyytiälä Forestry Field Station, Finland, 03.-05.09.2017

Preview: planetary counterpoles of Hyytiälä


Project examples:

Cups for Alice

Standard drinking cups made of polystyrene imprinted with a measurement scale were aboard of an oceanographic research vessel of the National Oceanic and Atmospheric Administration of the US (NOAA) during an expedition in the Gulf of Mexico in a remotely operated underwater vehicle (ROV). Due to the increased air pressure, the cups shrank with every meter of descent resulting in tiny smurfed measuring cups. Link to video documentation, 2.25 min on Vimeo: Cups for Alice












Elastic Metric System

To facilitate the sociocultural transformation towards a culture with an enhanced sensorium, I implemented the New Elastic Metric System on an arbitrary basis as an intervention in public spaces such as cultural institutions and border areas.












Elastic Standard Metre

Unmeasuring the original metric system from 1795 located in Paris with the Elastic Standard Metre on a daily basis for one month. The measuring results varied each day. Video documentation, 2.30 min on Vimeo: Elastic Standard Metre












Organic Equilibrium

Transformed spirit levels with the vial embedded in organic materials to determine potential solutions outside of the binary paradigm (even / uneven) of conventional scientific rationality.












Disordered Zero Point of Clandulla State Forest

In a geometrical approximation the geographical zero point of Clandulla State Forest Gallery, NSW, Australia was determined at -32°53’37.6”, 149°56’6”. This mark was shifted to the main area of the open air exhibition (The Survey Show). Such flexibility of the zero point was represented by a mobile rotating device keeping the zero point in constant motion explicating the discrepancy between human made constructions and reality. Link to event: Clandulla State Gallery












Viscous Timespacematter

Bergson’s concept of duration as an immeasurable flow and intuitive sense of time in contrast to mechanized clock-time was the basis of several experiments about time. Revamped time keepers literally softened the rigidity of ordered time. Video documentation, 2.40 min on Vimeo: Viscous Timers













end of transmission

Disoriented Descartes in Grenoble (29.5.-04.09.16)


as part of Julien Villaret’s Ideal Reading at centre d’art Grenoble

Sydney – Articulate Space – Have Your Say 19.-20.12.2015



Sydney UTS – Happy with my students

Grad Show UTS Sydney

Grad show Vis Com UTS at the wharf in Sydney

20 November 2015 at 18:30 to 21 November 2015 at 16:00
Pier 2/3, Walsh Bay
Sydney, Australia 2000

For works – click below
UTS Sydney Visual Communication

Melbourne – Transversal Practice



Conference at VCA on New Materialism. More here:

Pure pleasure

Experimental Thinking / Design Practices


Ortho and Cups for Alice in Brisbane:
Experimental Thinking / Design Practices
18 September – 7 November 2015

Griffith University Art Gallery,
South Bank campus 226 Grey Street,
South Bank, Brisbane.


The Tools – exhibition at gallery tête, Berlin


Manipulated clocks


Even better: placing the image in original size results in a distortion of the aspect ratio according to preformatted sizes of the template. This aspect of visual articulation is part of my exploration in the elastic screen project.

I manipulated the clockhands of conventional clocks and replaced them with elastic latex material. Suddenly gravity becomes an important and influencing factor in the display of time. Some specific constellations of the clockhands are difficult for the rotation of the clockhands: when the hourly and minute clockhand move on top of each other the clockhand for seconds does not have enough energy to move over them and gets stucked. Furthermore the display of time gets creatural and anthropomorphic. Physical factors are not settled or reduced to a controlled, well organised sequence. Instead, they are encouraged and made apparent.