#HYPERIMAGE FOR MAC SERIES#
Warburton reflects on the labor of computer graphics and CGI as a series of experiments involving gestural sequences and materials (as image infrastructures). That is, Warburton does not pursue perception and understanding as separate and autonomous categories, but rather works from within the exchanges between instruments, practices, and the knowledges they reflect and produce. Warburton engages computational image-making through what Gaston Bachelard, in his works on the philosophy of science, called phenomenotechnique. RGBFQ focuses on sites of production (rather than on reception or consumption). Warburton approaches the conundrum of perceptual access from a different angle.
The black box is the common emblem for this computational opacity, and no doubt this phenomenon presents a growing challenge to perception and understanding.
This view responds-sometimes explicitly and always implicitly-to the contemporary tendency in media theory to stress the disjunction between the micro and macro spaces and times of computational processes and the mammalian timespace of the human sensorium. The exploded image, Warburton explains, is “a type of hyperimage – an image with bookmarks and switches and levers embedded into it.” The image appears as factory, as operating theater, as office machine, as theater of operations. In RGBFAQ, computer generated images are work spaces. And even where his own practice is not the focus, practice itself, particularly in the rituals and repertoires of bodies at work, are central to Warburton’s project. it follows Goodbye Uncanny Valley (2017), Spectacle, Spam, Simulation (2016), and Fairytales of Motion (20?) Across these essays, and in much of his work in experimental CGI as well, Warburton stages an argument for his own practice of research-creation and critical making. RGBFAQ is Warburton’s fourth video essay it is also his longest and most ambitious. The sequence performs reflexively, thematizing its own conditions of production. There are visualizations of processes of visualization, like the XYZ RBG motif that pictures a red, blue, and green XYZ axis floating in the gridded interior of a cube. Cycling through examples of beauty, matte, geometry, and utility elements, Warburton demonstrates how these images function as sites for manipulation, intervention, and revision through clever exaggerations and shifts in palette. In a beautifully animated sequence about render elements, Warburton flips the layers of the exploded image like a deck of cards or sheaf of photos, rotating and spinning them through virtual space, then lining them up in their heterogenous array to show us what they look like to the animators, designers, engineers, and developers that work with them-and to demonstrate how fine and precise their controls are. GGI are intersections of processes of construction and composition, from modeling, rigging, and animating to light effects, volumetrics, mo-cap, and more. In a new video essay about the history and future of computer graphics, RGBFAQ, Alan Warburton explores the layers that make up what he calls the “exploded image.” Digital images, he suggests, are always multiple. Image/Work: Notes on Warburton’s RBGFAQ Deborah Levitt
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