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The affects of geometry (in a disorienting sense) – When perceiving optical illusions, the nervous system as a site of production develops a critique of the experience. In relation to architecture this event holds a potential for illuminating the interior or the surface focusing on the decorative part of them that is usually subjugated to the more powerful rational structures of the build environment. When the short-lived movement of Op-art appeared as a phenomenon in the 60s the art elite was highly critical. In 1965 the exhibition “Responsive Eye” opened at MoMA in New York and was extremely popular among the general public. The art critics on the contrary gave the show very bad reviews and dismissed Op-art as nothing more than “tricks that fool the eye”.  What were the political ideas behind these more or less sensational works? And how can they relate to an image production to-day after our having entered into a digital era? Reading Victor Vasarelys manifest “Towards democratization in art” I was reminded of some of the points from the pre-digital times. He writes: Sensations are first registered by our emotions… Since it is not possible for everyone to study modern art seriously, in place of its “comprehension” we advocate its “presence”… Let us not fear the new tools that technique has given us. We can only live authentically in our own time. [1] I google: “How to live “authentically” in ones own time?” And “What are the changes in our perception, with technology developing so rapidly?” In the last search result, a link to an article about “screen eyes” or computer vision syndrome pops up. Next in googles list, is a Wikipedia page on Accelerating change…  In DATA: Directions in Art, Theory and Aesthetics (1968).
Måske er man om tusind år noget kraftigere og mere uforstyrret 2015 Afgang 2015, Kunsthal Charlottenborg

Måske er man om tusinde år noget kraftigere og mere ufforstyrret/ Perhaps one is, a thousand years from now, somewhat heavier and more undisturbed (Rainer Maria Rilke); 2015; Uv – print on non-woven wallpaper, Risso print 1200 stk (Poem by Anna Ørberg); Variable dimensions; Anders Sune Berg