A recurring interest in machines plays a part in the construction of sensitive objects made of code, dry-logic, and inference. By predicting unseen data from previously observed data, we arrive back at the lens. Hail apperception. Jejune operations, flat, thin, pulled apart; affine transformations, gaussian processes, and accumulated impressions. It’s all the tang end-up and the clevis end-down, the grit blast, the splashdown loads, and cavity collapse loads, the Randolph type two zinc chromate asbestos-filled putty laid up in strips. Mistakes into miracles. The handedness of man. Confidence thresholds at about eighty percent of ‘sure.’ Signal to signal. Auto-cinéma vérité.
So, to note, if the surface is distorted, the figure also becomes distorted. The image reflected on the surface of a mirror has no depth. An image without depth is a metaphor for all forms of ‘savior.’ Should you only concern yourself with surface? Things are happening that just aren’t accessible to consciousness. Take visual perception: when you look at a rigid object in motion you aren’t able to prevent yourself from perceiving it. Try. What reaches your retina is your phenomenal experience of a rigid object in motion, and you can’t introspect into that. You have data but you don’t know much else about what’s going on. —Multiplicity is alluded to through reflection.
Together we can diminish distances, but not right now.
Raza Kazmi (b. 1990 Faisalabad, PK; lives in Hartford, CT) received a BFA in New Media Art from University of Hartford in 2012, and an MFA in Sculpture from Yale University in 2016. Previous solo exhibitions include Dread Circumference at Interstate Projects, 2020. Kazmi is currently an assistant professor of Integrated Media Arts at the University of Hartford.