We have only one WORLD yet! If we destroy it, where else will we go?
Winter 2002: 8th issue - **2nd Anniversary**

GHz the Post Analog Object in L.A.



Developments in microprocessing are having obvious and profound effects across global society and certainly in the arena of visual culture. Increasing numbers of artists are deploying monitors, projectors and computers as sculptural elements and signaling the shift in cultural and social dynamics created by the digital technologies displacing the analog ones on a mass scale.

However, it would be a mistake to think this "new media" art as the naked display of cables and circuitry and the development of monitors, projectors, and computers. GHz the Post-Analog Objects in L.A exhibition at the Williamson gallery in Pasadena, California claims that "new media art" needs to include object that do not bear the look of technology but that would be inconceivable without the digital tools. GHz examines this subject through the works of Wendy Adest, Sue Dorman, Cindy Kolodziejski, Patricia Moisan, Linda Nishio, Jason Pilarski, David Schafer and George Stone.

"David Schafer's multiplication tables map out part of the cycles of endless repetitions."

These artists extend their art-making process by incorporating new techniques such as system for rapid prototyping, computer numerical control (CNC) milling processes, laser etching and other rendering methods based on 3D modeling. Use of computer applications both enables the artists to develop their ideas in 3D and make the certain manufacturing process less costly. Machines can now realize computer-generated objects in semipermanent and nonpermanent materials without high production cost.

The curators of the show Stephen Nowlin and John O'Brien are initially motivated what they perceive as a lack within the new media genre of a satisfying corporeal resolution of simulated digital objects. So many of these new media "digital objects remain within the realm of the virtual and are primarily viewed as flat images projected or displayed on a screen. The artists in the exhibition take a step further to bring corporeal resolutions to simulated digital objects.

Unlike digital photography, which homogenizes the creator's differences, the objects in GHz cling on to their specific poetics. For some of these artists the new tools changed the way they think about object making. For others, there is continuity with their previous work. The choice of materials is individual and reflects the artistsí personal interests in various materials in realizing their work. Echoing Jeff Koon's polished consumption objects, the art works in GHz embody the quality of precisely finished industrial objects, the machinelike perfection. David Schafer's multiplication tables map out part of the cycles of endless repetitions.  Schafer achieves a dynamic relationship within his floor installation by utilizing contrasting color, yellow and plain poplar, and two different sizes. The eyes restlessly move from yellow table cluster to the poplar table cluster reading them both as an abstract pattern and a table pattern.  Wendy Adestís giant morphed musical notation is a continuation of her minimal surreal studies. The works represented in GHz exhibition reflects certain use of digital tools and it poses further questions subject to other investigations.

This issue dedicated to such distinguished poet & composer as (alphabetical order):

We have been celebrating our 2nd Anniversary.
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@ The Light Millennium e-magazine was created and designed by
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. 8th issue. Winter 2002, New York.
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