Troy Innocent
 
  • grow. clone. mutate.
  • grow. clone. mutate.
  • grow. clone. mutate.
  • grow. clone. mutate.
  • grow. clone. mutate.

grow. clone. mutate.
Troy Innocent 2014
laser cut acrylic and plywood, artist software, sound and animation, 48 markers, dimensions variable

Project 14: Free Range
Anna Pappas Gallery, Melbourne, Australia, 7 February - 12 March 2014.


The work is a coded system for marking space. Originating as a set of relationships in an artificial world, the codes are embedded in actual space; generating a transmedia ecology. Lévy characterizes the ‘virtual is a kind of problematic complex’ attached to events, places and objects that ‘invokes a process of resolution: actualisation’. Layers of meaning in the system are unlocked on multiple levels: in their relationship to space; the rules of their modular design; and in their decoding by humans or machines.

The codes evolved from ‘urban codemaking’. In this practice the markers are placed in and around urban spaces as tokens in a pervasive game. This coded marking of space is inspired by the many entities that leave traces in our cities and streets – corporate, private, human, machine, virtual and actual. The codes blend street art, formal abstraction, augmented reality, and game design.

Code is explored on a number of levels, some are ‘fiducial markers’. While these are machine readable, they are also human readable as aesthetic objects. When decoded further levels of the system appear as animation and sound alluding to the unseen systems that constantly generate our universe. With each actualisation of code a new potential arises thereby enacting ongoing processes: grow, clone, mutate.




 
Pattern Recognition

Urban Code

+ + +

Double Abstraction

New Abstraction

16 verbs for Ludea

Excerpts (Xelbourne)

____. _____. ______.

revert. renew. remake.

speak. think. transform.

noemaflux

autograf