Title: The Disasters
Format: Computerized Audiovisual Installations
Year: 2006
Click these links to watch the Interface of each installation: 1 | 2 | 3 | 4 | 5 | 6

The disasters” was a specific series of installations commissioned by a museum of contemporary art (MEIAC, Spain, 1996). The whole series deal with a critical reading of the way it’s represented violence of war in cinema and mass media system.

«The reality constructed and presented by technologies, that is to say mediated reality, transforms the subject into a second-order observer, as Niklas Luhmann suggested, in the sense of an observation of the observation. When the ideological calling of suspicion is wiped out, the questioning of the truthfulness of the realities relayed by the media also disappears, as they are regarded as “true realities”. The second-order observer constructs his “reality” on the reality constructed by the media. He is the subject who has accepted the substitution of seeing-through-one’s-own-eyes for seeing-through-the-media’s-eyes, the substitution of living in the reality generated by devices for generating the history of devices.3 Marino’s generative works bring us face to face with this dynamics of media societies.» (Giannetti, Claudia, "Contingencies of The Disasters", in Nor in this case, MEIAC, Badajoz, 1998.)

The project included a book with a comprehensive reflection on the work. Click the links bellow [01, 02, etc.] to get more information about each installation. Go to “Catalogue” section to download the book.

On the format of the pieces

This project is included within the generative audiovisual format, in the Programmed Images field. Frames giving sense to visual compositions are articulated by means of algorithms. Instead of taking fixed positions in a sequential order—as happens with standard films—, these frames are stored in databases that allow them to be ordered by means of open associative systems.1 Minimal sound and visual units switch places in order to give different meanings to the piece, just as lexemes and morphemes do in conventional languages. Mathematical formulae execute visual and sound responses that fall somewhere between chance and determination. A "generative" video format is that which dynamically articulates its minimal units (frames/pixels) on a scaffold of data in constant modification. These structures can alter the temporal or spatial order of display of the units based on certain parameters predefined by the author. In the generative format, there are two possible kinds of mutations, namely: a) temporal (inter-frame) transformations, which modify the continuum of the frames; and b) spatial (intra-frame) transformations, which modify the internal structure of the frames—the pixel grid. This generative format is structured through algorithmic editing, and hence it has to be executed with hardware allowing the programming of the state of pixels.