A transparent book as /thought map/constellation of language/, as base of the intersection of Visuality, culture, consciousness and their development from a priori analog big data.



The capacity of humans to understand themselves and others rely on a vast collection of variables.
These capacities vary greatly from individual to individual as well as from one social group to another (Rhodes and Baron).
There are countless scientific studiesand journals where cognition, artificial intelligence, psychology and philosophy intersect,
dissecting what the mind is and how experience determines the way in which reality is processed.
Experience on a meta-level is also the processing of reality (“MRA”).
What this paper aims to achieve is an in-depth investigation into overcoming otherness, by analyzing some of the many layers of a more general Visual Culture.
Globalization enabled easy access to view the world in a carefully curated and orchestrated frame.
The frame itselfis the meta-landscape of cognitive archaeology.
The frame is yet another intangible filter providing a boundary to the public from systemic authority, which by this time is probably administered by an AI.




The rhizome extends far beyond the frame and attributes countless invisible values to perception of self and other.

At present, xenophobia is a struggle between the grassroots and enforcement of Western infrastructure.

The unrest would not be at such a boiling point if it were not for the very things that brought it to life.


Invisible Paperclips is an overarching term I use to describe my research.

It refers to the structure of how things are organized, kept together and linked without being visible.

There is some tangibility in the concept, an invisibly bent and shaped wire that holds pages together.


  • Overcoming Otherness by Approaching Research at Meta-Level

Domestic ; kin ; familiar ; popular ; mine = 1

Alien ; other ; strange ; reject ; their = 0




Text utilized as an abstraction to refer to a post-language realism beyond textual verification. Don’t look at what it says, how it is being said, rather consider the package as a whole – a small collection of thoughts in a larger collection of unlived lives (Barbara Barbara, We Face A Shining Future). These so-called readymades or found objects bring attention to the details of how society discards and disregards domesticated waste. In this frame of index and documentation, the collections become domesticated as they are being kept safe and contained, labelled and all. What is the value of forgetfulness? How can nostalgia be induced by reorganizing forgotten stories? Can familiarity be generated by confronting an alternative reality? Writing about post-language seems a bit arbitrary, but developing a language that is not spoken, nor written but observed and experienced through the ocular organ to be processed by the thought machine, must start with the fundamentals of language development. Write, read, speak, think, gesture, move, collect, make until it becomes something else entirely.

The work I make is illustrative and diagrammatic in an abstract way. The diagrams lay underneath as a sort of blueprint to arrange and organize different ideas and theories that are connected. The concept always informs the form the work takes, so the medium is never the same. This ‘otherness’ that is a constant, the medium, vessel or vehicle is always another medium than what it was before. I want to draw you in with attractive materials, reshaped or rearranged to make you think about the thoughts that spark by the experience of the installation as research process. I want you to join me on my mission to question the value of questions in a society overladen with information. How to take a step back from the information overload by engaging with simple compositions that speak of immense complexity.

Conducting theoretical research in a rhizomatic as opposed to an arborescent approach, allows for a sort of level playing field for the nodes of information within the theories. It is considered of paramount importance that no concept is above another in all things connected to visual culture (Cold Fact). This non-binary method of investigation and consideration allows for a new language to develop between domains of thought and theory which could inform an innovative research practice (Foley Room). In an introduction to the Rhizome, it is written that “Writing has nothing to do with signifying. It has to do with surveying, mapping, even realms that are yet to come (Deleuze & Gauttari).” Thus, by writing artistic research papers, informed by academic and abstract formats, language and writing can be used as a medium for one of many conduits to be formed between the myriad aspects of visual culture and developing unique research methodologies (“Acid Tracks”).

When the question of position is approached, a sense of physicality and geoposition could best be utilized to describe the coordinates of when and where the research finds itself to be established. The conclusion is directly related to its own embeddedness in the subjects that surround it. The research, as a process of attempting to find proof of new life, or exposing proof of hidden lives of information, becomes the work as it answers questions through asking questions. The conclusion boils down to an infinite dialogue. The dialogue has no beginning nor end.

The multitudinous layers that encircle and revolve endlessly around the question of the origin of life and thought, is like the development artificial intelligence in the most rudimentary sense. The very act of acknowledging its existence by giving it access to memory and existing information, allows it to grow exponentially and feed itself (“Cygnus X-1 Book II: Hemispheres”). It is a collective golem of meta-data.


If I must position myself as artist and interrogator, within the subject of Visual Culture, I am breaking down barriers of rigor and factual grand narrative, replacing them with science-fiction, music and experiential tea ceremonies. Even though it would not make sense to have science-fiction replace a barrier, or the subjective meaning of a specific album replace the grand narrative of becoming ‘creating pioneer’, these idealisms sketch an alternative landscape for existing idealisms to becoming something new, and perhaps more humble. The humility starts when something is removed from its original context and becomes free of a suspected predetermined trajectory.


I dive into fields of research where I am no expert. Taking nodes of information from concepts here and there, string them together to come up with my own sense of how ideas are connected. I hope to communicate through this piece of writing that no person knows more than another, we simply know different things (Deaf Safari).