If we consider that the new media provides a wider and more liberal sharing of information than public space, we can observe that the new media possesses a greater expanse of space, which derives from real world. As e compare these two spaces, we can see that the new media is far more organic and variable whereas the public space is shaped and limited by state and authority.
We might envisage the aforementioned spaces as an entwined and layered structure. Without doubt, public space constitutes the central point of departure. What manner of form would be achieve, if we attempted to physically mould this abstract spaces that have no physical substance? Some data might be consulted during the formation of this form. For instance, the information concerning “the proportion of resources and methods of data circulation”.

Can we reverse this physical data visualization, which is produced out of non-physical information? By covering a physical surface with a digital layer, can we soften the concept of reality between the “physical” and “digital”?

Digital data sharing; reification of the real-world space and value of the new media and coating the resultant parametric surface with a digital layer, by employing ISOHIPS mapping method, which provides physical data on the surface forms. Combining an information, which is originally physical, with a non-physical information (isohips-digital media) and re-digitizing the physical result; an audio-visual installation that questions and aims for the entwining of these two concepts.

[:en]
Netless is an intervention into the crystallized and thus stagnated infrastructure of the Internet. The artist tries to define an alternative data change strategy that would liberate network users by using pedestrian ways, roads, metro and bus lines as the vectors of data distrubution, to create a parasitic type of network.

Artist:
Danja Vasiliev [:tr]

[:en]

We live in a world of constant acoustic manifestations. Total absence of tonal phenomena and incentives can be found nowhere since matter itself is always present. But there is a silence which we all know. Induced by active listening, we come in direct contact to our personal, inner world. In my work, The Last Power is Silence, the sound screen is a symbol for the space where situations mutually interact. White noise, which is the sum of all frequencies in the audible range, emerges from the screen. An insistent expanse of sound confronts the listener with its shapeless, indeterminate and colorless form. Material: umbrella, piezos, cable, audio system The work of Clara Oppel is positioned at the intersection of sound / space / installation / sculpture. It meanders in the gaps of perception, somewhere between the perceived and the real world of sounds and objects. It is more about the silence, full of noises, sounds, and tones. Her work intervenes physically in the room, increasingly evading the material and opening space for the non-visible.

Artist:
Clara Oppel[:tr]
Clara Oppel'in çalışmaları ses, uzay, enstalasyon ve heykelin kesiştiği yerde konumlanmıştır. The Last power is Silence, algılanan ile gerçek olan ses ve objeler arasındaki algı açıklıklarında dolanır. Sessizlik, gürültü, ses ve tonları kullanılmıştır. Çalışma, fiziksel olarak mekana müdahale ederek, zamanla, görünmez olana alan yaratır.

Artist:
Clara Oppel[:]