Wall#4 of the new IFI2 (Department of Computing) building at the University of Oslo is is captured by an electronic parasite
The electronic parasite pattern is an intrusive organism that covers an interior wall of the new computer science building of the University of Oslo. Organs that depict 3 different stages of a life cycle leave tracks that mimic the aesthetics of electronic circuits behind. Each organ is build on a carefully manufactured circuit board that merges with electronic components to synthesize light into sounds. The parasite reveals the core elements of computer science which is taught inside the walls.
Commissioned by the National Foundation of Art in Public Buildings, Norway for the University of Oslo
Three different circuit boards depicting the different stages of the organic growth of the parasite
The hanging creatures have a solid skin made of hand-knitted isolated wire to protect their simple analogue electronic organs. These are connected to tentacles that wind up the trees to collect as much sunlight as possible. Fed by light each corpus releases a repetitive monotonous movement accompanied by a a rather technical sound. Gathered as a swarm the individual output is merged into an organic soundscape and a united motion that feels natural and merges with the environment. The Pilar and Joan Miró Foundation is located in the lush gardens that surround the studios in which Joan Miró worked from 1956 until his death in 1983. This enchanting and peaceful atmosphere might have been the inspiration for the artist to envision his sculptures to become living creatures during the night or the absence of human beings.
This influenced the idea of creating a swarm that has an autarkic nature. While the behaviour of the collective is mainly related to the sculptural work of the artist, the appearance of the individual creatures is a reference to his graphic language. The corpuses combine the basic concept of geometric shapes with a very organic and variegated handcrafting. – - – Like Miro‘s forms occupy the canvas, the small beings inhabit the nature around Miro‘s ateliers and workshops. All ‘electronic-life-forms’ installations investigate the relation between nature, human beings and technology b
This influenced the idea of creating a swarm that has an autarkic nature. While the behaviour of the collective is mainly related to the sculptural work of the artist, the appearance of the individual creatures is a reference to his graphic language. The corpuses combine the basic concept of geometric shapes with a very