Politics of Visibility, Form & Diffractive Temporalities
Politics of Visibility, Form & Diffractive Temporalities
Lorena Articardi (b. 1992, Italian-Uruguayan) is an artist, researcher, and curator based in Helsinki, working with a research-based image practice –primarily photography and film. She describes her studio work as a material-discursive study on light, approaching light as both her medium and subject. Light compels her to work with mediums that engage the dimensionalities of time and space; it intersects with linearity and foregrounds a genealogy –an altered temporality and a situated positionality –a dis-position. The sampling gesture of capturing in frames is defined as much by what is light-inscribed as by the gaps that have been intently left unexposed. It makes the sampling gesture, the construction of meaning –visible; and with it, the political nature of form itself.
Her curatorial work turns to photography and film as sites where the ordinal in form is contested, where legibility must reckon with the erasures, the histories effaced by displacement –a process developed through experimental and expanded approaches that often take shape in montage and essayistic form. Her practice attends to the structures that regulate how images circulate and accrue meaning –the institutional, historical, and material devices that mediate what is possible to know or recognise. Through her approach, these structures can be reworked through accountable, non-extractive modes of inquiry, allowing epistemic margins, temporal dissonances, and other genealogies to be encountered through relational co-constitution.
She holds a Licentiate Degree in Image and Sound Engineering from Universidad Católica del Uruguay (2011–2017) and an MA in Photography from Aalto University, Finland (2021–2023), and has undertaken MFA studies at Trondheim Academy of Fine Arts, NTNU, Norway (2020–2021). Lorena has taught as an assistant professor at Universidad Católica del Uruguay (2017–2021). Since then, her practice has focused on archival research –preservation, restoration and contextual re-evaluation of film and photographic materials– developed through work with institutional and artist-run frameworks. She has carried out curatorial and archival work across Uruguay, Norway, Germany, and Finland –from developing film archives to working with private collections and artist-run initiatives. She is board member at Filmverkstaden (FI) and, also, a member of LaboratorioFAC (UY), part of the Contemporary Art Foundation (FAC). Her work is held in private collections in Finland and Germany, and has been exhibited in institutions such as the Finnish Museum of Photography FI, Tsinghua University Art Museum CN, and Museo Juan Manuel Blanes UY, and in ‘Jojaha-Paridad’, the 3rd International Art Biennale PY, among others.
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(Of Sunburns and Sunspots, Notebook Entry.). Even the brightest of stars bears dark spots –wears them as scars. All surfaces have an inscribed memory, and yet we’re squinting. The ground, the acrimony, the burn. The kiss, your touch, the burn. The sun, the tan, the burn. The salt will help you heal, it’ll wash the sand off your skin.
Publications
[Current]
2025-6, ‘Visualidades Expandidas’, as part of the ‘Panorama of Experimental Film Referents’ programme. Laboratorio FAC, Contemporary Art Foundation. Curated by Carolina Sobrino and Guillermo Zabaleta, together with Ángela López Ruiz, Sofía Martínez Frenkel, Ángel Pajares and Joel Pachas. Group Exhibition. Museo Juan Manuel Blanes. Montevideo UY.
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2025, 'Discourse at 16 fps', Gallery Week Finland. Fringe Gallery, Filmverkstaden. Vaasa FI.
2025, Guest Room: Felix Hoffmann, Mona Schubert & Marit Lena Herrmann. Der Grief, Organisation for Contemporary Photography. Munich DE.
2025, 'Discourse at 16 fps'. Curated by Julian Ross. Fringe Gallery, Filmverkstaden. Solo Exhibition. Vaasa FI.
2025, ‘Binding Structures’. Invited by Rebecca Sandelin. Razobill Gallery and Books. Solo Exhibition. Ekenäs FI.
2025, Spazio MAGMA, NABA –Nuova Accademia di Belle Arti. Group Exhibition. Rome IT.
2024, ‘Technophilia and the “New” Society’. Kulttuuritila Merirasti. Group Exhibition. Helsinki FI.
2024, ‘“Du tvingas reagera.”’. Föreningen Luckan. Solo Exhibition. Helsinki FI.
2023, Guest Room: Simon Baker & Aden Vincendeau. Der Grief, Organisation for Contemporary Photography. Munich DE.
2023, 'Dialogues: An Ode to Textile Stories'. Oodi Helsinki Central Library. Group exhibition. Helsinki FI.
2023, ‘Tides’. Espoo Cultural Centre. Group exhibition. Espoo FI.
2023, ‘Softcore’. V1 Gallery, Aalto University. Solo exhibition. Espoo FI.
2023, ‘MoA 23’. Finnish Museum of Photography. Group exhibition. Helsinki FI.
2022, ‘Panorámica Experimental’. Laboratorio FAC, Contemporary Art Foundation. Centro Cultural de España. Group Exhibition. Montevideo UY.
2022, ‘Anthology’. V1 Gallery, Aalto University. Solo exhibition. Espoo FI.
2022, ‘Daughter of Chaos’. V1 Gallery, Aalto University. Joint exhibition with artist Yujie Zhou. Espoo FI.
2021, ‘Material Thinking’. Tsinghua University Art Museum. Group Exhibition. Beijing CN.
2021, Shed. SALT, Nyhavna, Trondheim Kommune. Group Exhibition. Trondheim NO.
2020, Open Academy. Trondheim Academy of Fine Arts, Gallery KiT. Group Exhibition. Trondheim NO.
2020, ‘Rom’, collective zine published by Røyne Forlag. Trondheim Art Book Fair X. Litteraturhuset i Trondheim, and Trondheim Kunstmuseum Gråmølna. Trondheim NO.
2020, Trondheim Open. Trondheim Academy of Fine Arts, Gallery KiT. Group Exhibition. Trondheim NO.
2020, ‘Jojaha-Paridad’, 3rd International Art Biennale: Asunción PY. Laboratorio FAC, Contemporary Art Foundation. Group Exhibition.
2019, ‘JAM’. Laboratorio FAC, Contemporary Art Foundation. Group Exhibition. Centro Cultural de España. Montevideo UY.
{Upcoming, 2026-7}
‘Liminal Cartographies’. Curated by Salla Sorri and Lorena Articardi. Film Programme.
{Upcoming, 2026}
‘Enquiry for Ancestral Memory’. Curated by Ramiro Camelo (Myymälä2) and Julija Pociūtė (Pamenkalnio Gallery). Assistant Curator: Lorena Articardi. Group Exhibition.
Myymälä2. Helsinki FI; Pamenkalnio Gallery. Vilnius LT.
{Upcoming, 2026}
‘Frames’. Artist: Rebecca Sandelin. Razobill Gallery and Books. Solo Exhibition. Ekenäs FI.
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2022, 16th Issue (Co-Edited/Curated) –Uncertain States of Scandinavia, an artist-led quarterly broadsheet newspaper showcasing lens-based art. NW Gallery, Copenhagen Photo Festival, Copenhagen DK; and Supermarket Art Fair, Stockholm SE.
2019, ‘JAM’. Curated by: Ángela López Ruiz, Gonzalo Rodríguez Novellino, Guillermo Zabaleta, Lorena Articardi, and Martin Kroch. Group Exhibition. Laboratorio FAC, Contemporary Art Foundation. Group Exhibition. Centro Cultural de España. Montevideo UY.
2025, Invited by Rebecca Sandelin. Razobill Gallery and Books. Ekenäs FI.
2025, International Curatorial Residency: ’Enquiry for Ancestral Memory’. Invited by Myymälä2. Helsinki FI.
Framed to reprise tradition and a stateliness that bears institutional character, the photographs are unconventionally displayed. Overlayed and unmounted, they stand on their own right, curving fluid and collapsing towards the bottom of the frame. Their depiction constitutes a gesture in two stops. I approach the light that is leaking in, the one projecting alabaster-tainted reflections on poignant surfaces. –Surfaces that, despite a few scattered spotlights, remain overcast by the structural monumentality of the space. In the diptych, the photographs are titled separately –as to strain their discreteness. I seek after a riveted positivist sun that feels almost upon our reach; piercing through the shadows with a light that appears to be its own; all by means of a depiction that is loaded with existential debris and a ridiculous, yet natural, attempt to pair it with vestiges of popular culture. The diptych is part of the series Of Sunburns and Sunspots, a collection of notebook entries that are rarely just scribbled writings. An intimate photographic reportage that samples in fragments, and thinks of captures as a form of inscribed light-sensitive memory.
(‘Of Sunburns and Sunspots’, Notebook Entry.).
I have sat on these benches time and again; the sole thought of them corrects my posture. I would always find a corner spot, –on the very last row, far in the back. An echo of my tamed insipid will to escape the inescapable. I am irrevocably pulled towards the light leaking in, I sit and soak in its blinding presence –yet, I cannot sit still. This bench is hurting my back. I seek the source of that light, the one projecting alabaster-tainted reflections on poignant surfaces. –Surfaces that, despite a few scattered spotlights, remain overcast by the structural monumentality of the space. A riveted, recursively constructive, –a positivist sun feels almost upon our reach; piercing through the shadows with a light that appears to be its own. A light I am only to project back, as an extension of the thorny spine that renders the aisle endless.
‘Of Sunburns and Sunspots‘, is a collection of notebook entries that are rarely just scribbled writings. An intimate photographic reportage that samples in fragments, and thinks of captures as a form of inscribed light-sensitive memory. The series is an ongoing project arranged in iterations –as collections within its overall conceptual framework.
Even the brightest of stars bears dark spots –wears them as scars. All surfaces have an inscribed memory; and yet, we’re squinting. The ground, the acrimony, the burn. The kiss, your touch, the burn. The sun, the tan, the burn. The salt will help you heal, it’ll wash the sand off your skin.
[Ongoing]
(’Of Sunburns and Sunspots’, Notebook Entry.).
I have sat on these benches time and again; the sole thought of them corrects my posture. I would always find a corner spot, –on the very last row, far in the back. An echo of my tamed insipid will to escape the inescapable. I am irrevocably pulled towards the light leaking in, I sit and soak in its blinding presence –yet, I cannot sit still. This bench is hurting my back. I seek the source of that light, the one projecting alabaster-tainted reflections on poignant surfaces. –Surfaces that, despite a few scattered spotlights, remain overcast by the structural monumentality of the space. A riveted, recursively constructive, –a positivist sun feels almost upon our reach; piercing through the shadows with a light that appears to be its own. A light I am only to project back, as an extension of the thorny spine that renders the aisle endless.
‘Iteration I’ attempts to portray the scar that is my Catholic upbringing. One that shifts and resurfaces. –A sunburn, a sunspot; it is, after all, the discernment of scars as a form of inscribed light-sensitive memory which gives this series its name.
In ‘Iteration I‘, confining systems of thought and monumental structures become stand-ins for my body, they become skin and vessel. A posture –a correction, a burden, an echo of submission. Their spines and vaulted ribs mimic my own. A body without warmth, devoid of flesh –sacred; a light that burns –searing. Yet, over that, one that feels uncomfortably familiar. A light that brings no solace —that is etched by repetition and structure. It scalds as it reveals; projects as it pulls. Light is both the subject and instrument of my estrangement –so is photography, bound to light itself.
‘Of Sunburns and Sunspots’, is a collection of notebook entries that are rarely just scribbled writings. An intimate photographic reportage that samples in fragments, and thinks of captures as a form of inscribed light-sensitive memory. The series is an ongoing project arranged in iterations –as collections within its overall conceptual framework.
Even the brightest of stars bears dark spots –wears them as scars. All surfaces have an inscribed memory; and yet, we’re squinting. The ground, the acrimony, the burn. The kiss, your touch, the burn. The sun, the tan, the burn. The salt will help you heal, it’ll wash the sand off your skin.
For each exhibition, a physical copy of the film is produced and mounted as a 3-minute loop. It is then threaded into a 16 mm projector, that has been adapted to hasten and pace a continuous and uninterrupted reproduction of the film. The mechanical reproduction triggers an accumulation of time in its surface, inscribing time’s passing in a manner much akin to scar tissue. The film runs through the projector until it is completely worn out by means of the systemic eroding character of the reproduction device. There remains a torn out copy and an empty frame –a seamless beam of light, now unobstructed. The screening of Eat Sand / Sand is then interrupted, yet time continues to be accounted for in frames per second.
Link to watch Sand / Eat Sand.
[Ongoing]
When mechanic devices fail, they do so at displaced times. ‘Landslide‘ reveals a series of light records on damaged negatives through the structural design of Jacquard hand-woven tapestries crafted in wool and cotton. It is the winding mechanism in the camera that is responsible for the damage. It advances the film, but the malfunction can no longer account for time in frames. The film advanced and brittled, getting repeatedly inscribed and exposed –and, with it, so did time. Landscape becomes ‘Landslide’; and the emulsion, a sort of scar tissue. A genealogy, in its physicality, takes precedence; it disposes off of history. It isn’t the intricacies of context that markedly overwrite linearity, but the possibility of there being a temporal offset that renders time plural.
‘Landslide’ is a photographic series of expanded character, crafted as Jacquard tapestries in wool and cotton.
‘Softcore’
‘Softcore’ portrays light in a seemingly cartographic manner, in the form of structural jacquard tapestries, constituting a sort of flesh that is only real in its constructedness –that is true in its own accord as a single reading. Here, I move beyond the photographic and explore a different means of recording light. ‘Softcore’ can only account for wave behaviour; it looks at the sun through the processing of radio frequency signals, retrieved from the Metsähovi Radio Observatory’s repository of solar activity. Records of solar activity capture a de-phased, distorted and out-of-sync plurality of events –indexed as single instances. ‘Softcore’ approaches the notions of interference and patterns of difference, as to unfold their implications for an understanding of diffractive time and –subsequently– a convergence of timelines, distinct temporal scales and simultaneity.
This notion of interference concerns both the apparatus and the object, the nature of light and the apparatus itself. The retrieved signals are readings, and so is my processing. The instruments we use to collect solar activity data are engineered to filter out the vast and predominant noise that would otherwise significantly obstruct a –theorised– pure and isolated access to the sun. In their obscured and concealed constitution, these instruments are tailored to predict error so as to cancel it out. In ‘Softcore’, my processing of these signals deliberately amplifies the resolute noise that, despite the efforts of science, still managed to permeate our records.
‘001–003’
The –numbered– series ‘001–003’, is a series of handwoven wool tapestries crafted using 100% black wool and 100% –relatively warm– white virgin wool. These were crafted by employing a rather experimental binding structure. Here, through 1-bit depth filtering, the raw input data gets transformed into a knotty and dynamic visual representation that is defined by broken gradients. The structural outcome and behaviour of the textiles is –in turn– entirely determined by the input image; this methodology results in far more limited control over the outcome structure.
‘Softcore’
‘Softcore’ portrays light in a seemingly cartographic manner, in the form of structural jacquard tapestries, constituting a sort of flesh that is only real in its constructedness –that is true in its own accord as a single reading. Here, I move beyond the photographic and explore a different means of recording light. ‘Softcore’ can only account for wave behaviour; it looks at the sun through the processing of radio frequency signals, retrieved from the Metsähovi Radio Observatory’s repository of solar activity. Records of solar activity capture a de-phased, distorted and out-of-sync plurality of events –indexed as single instances. ‘Softcore’ approaches the notions of interference and patterns of difference, as to unfold their implications for an understanding of diffractive time and –subsequently– a convergence of timelines, distinct temporal scales and simultaneity.
This notion of interference concerns both the apparatus and the object, the nature of light and the apparatus itself. The retrieved signals are readings, and so is my processing. The instruments we use to collect solar activity data are engineered to filter out the vast and predominant noise that would otherwise significantly obstruct a –theorised– pure and isolated access to the sun. In their obscured and concealed constitution, these instruments are tailored to predict error so as to cancel it out. In ‘Softcore’, my processing of these signals deliberately amplifies the resolute noise that, despite the efforts of science, still managed to permeate our records.
‘Midtsommer’ from ‘Softcore‘
‘Midtsommer’ elaborates on the notion of cycles by drawing a parallel between solar cycles and the fundamental principle of a full cycle; –as is represented by pure sinusoidal waveforms. A pure sinusoidal waveform is a fundamental type of oscillatory signal –it is characterised by its regular and repetitive oscillations. It follows a mathematical sine or cosine function, typically represented on a graphic form where the y-axis represents amplitude and the x-axis represents time. The duration it takes for the waveform to complete one full cycle is termed period, which encompasses both the positive and negative arches of the oscillation. The positive arch represents the ascending portion of the wave, while the negative arch represents the descending portion. When referring to the entire oscillation we term it a full cycle, a complete repetition of the waveform’s shape and behaviour, a fundamental notion when studying periodic signals. The term pure is employed to emphasise the absence of added noise or distortion within the waveform, highlighting the clear and undisturbed nature of the oscillatory pattern –it echoes the theorised idea of studying objects in isolation or under controlled conditions, disposed of the interference of external factors.
The tapestry is double sided. It produces a negative image on the back, and a positive image on face. The 12 meters are to represent a simplified day/night cycle, the positive and negative arches of the oscillation.
‘Midtsommer’ was woven using 100% mercerised black cotton and 100% –relatively warm– white virgin wool. It was meticulously crafted using a double weave structure, strategically combining tightly stitched areas with open segments –where the face and back cloth remain as separate entities. This approach aimed to further explore this structural duality and bring attention to the contrasting behaviour of the fabric once steamed. –In particular, the differentiated shrinking rates of the materials used and distressed sculptural features of the finishing treatments. The intricate crêpe binding structure employed is that of a rotating crêpe design, thoughtfully adapted to include stitching in designated areas of the visual composition. This specific choice seeks to be read as visual noise, incorporated as the sole underlying pattern –the binding pattern–, a purposeful conceptual detail within the overall textile structure.
A black and white palette stands to represent the most fundamentally simple in digital representation; it eliminates all nuances in grayscale, reducing images to a graphic interplay of binary output values. At 1-bit depth filtering, each pixel is restricted to two possibilities –a duality–: pure black –amplitude value: 1– or pure white –amplitude value: 0–. In this context, these values represent the presence –amplitude value: 1– or absence –amplitude value: 0– of amplitude information in the processed signal. At 1-bit depth filtering, our processing gesture cannot differentiate between fine details or accurately accommodate the subtle transitions and soft gradients present in the original signal. Quite the opposite, what this filtering ultimately does is it exacerbates noise and imperfections in the image. –In failing to preserve image fidelity, it makes artefacts glaringly evident.
2023, ‘MoA 23’. Finnish Museum of Photography. Group exhibition. Helsinki FI. 2023.
Institutions exist beyond the confines of high-reaching ivory-like walls. The structural in these cultural monuments rests on the basis of discursive formations; –which means, an artistic practice is in itself an institution. It is not just about the structural, that associated with the cultural sites of production and distribution of art, but the foundational; which inevitably foregrounds an imperative need for a critique of practice itself and of the role of the practitioner.
In approaching light as both my medium and subject, I expose the deceptive character of the device I make use of. That is, whether this device stands for my discourse, medium, or the frameworks within which I operate. Our scaffolds –in hope this signifier can better convey both sturdiness and a rearrangeability–, however exhaustive, exist within broader and evermore extensive frameworks; and material-discursivity helps keeping me accountable. It reveals its capacity for both compelling depiction and unrestrained self-exposure. In its assessment, it upholds both as equally consequential; thereby, concerned and critically engaged with the ethics and politics of aesthetic practices. Material-discursivity prompts a deliberate rupture, it impairs the conventional spell of presentation making the device –visible, and the political –form. In a precarious present, when invisibility is an instrument of governance, instilling instability and instrumentalising difference –making visible is a means of resistance.
‘Softcore’
‘Softcore’ portrays light in a seemingly cartographic manner, in the form of structural jacquard tapestries, constituting a sort of flesh that is only real in its constructedness –that is true in its own accord as a single reading. Here, I move beyond the photographic and explore a different means of recording light. ‘Softcore’ can only account for wave behaviour; it looks at the sun through the processing of radio frequency signals, retrieved from the Metsähovi Radio Observatory’s repository of solar activity. Records of solar activity capture a de-phased, distorted and out-of-sync plurality of events –indexed as single instances. ‘Softcore’ approaches the notions of interference and patterns of difference, as to unfold their implications for an understanding of diffractive time and –subsequently– a convergence of timelines, distinct temporal scales and simultaneity.
This notion of interference concerns both the apparatus and the object, the nature of light and the apparatus itself. The retrieved signals are readings, and so is my processing. The instruments we use to collect solar activity data are engineered to filter out the vast and predominant noise that would otherwise significantly obstruct a –theorised– pure and isolated access to the sun. In their obscured and concealed constitution, these instruments are tailored to predict error so as to cancel it out. In ‘Softcore’, my processing of these signals deliberately amplifies the resolute noise that, despite the efforts of science, still managed to permeate our records.
‘TK001–004’ from ‘Softcore’
Link to watch TK001–004. (Currently linked as silent due to ongoing work on the sound design.).
These single-channel videos capture the mesmerising process of making Midtsommer, as detail shots of an operating industrial weaving machine. Each take has a deliberate duration of 8 minutes and 20 seconds, echoing the time it takes for sunlight to reach the earth. These videos are composed of still sequences, offering viewers a unique space to immerse themselves in the unfolding of time. As the video progresses, it morphs into a flowing tale, resembling the steady beat of a timekeeping mechanism, serving as a poignant reminder of the light that left the sun when our viewing began, straining out perception of time’s passage. This series pays homage to the deliberate, meditative performance inherent in manual labor, particularly the rhythmic artistry involved in textile work. It is a tribute to the healing, slow-paced transformation etched onto my body through what was for me a profound engagement with this beautiful craft.
‘Softcore’
‘Softcore’ portrays light in a seemingly cartographic manner, in the form of structural jacquard tapestries, constituting a sort of flesh that is only real in its constructedness –one that is true in its own accord as a single reading. Here, I move beyond the photographic and explore a different means of recording light. ‘Softcore’ can only account for wave behaviour; it looks at the sun through the processing of radio frequency signals, retrieved from the Metsähovi Radio Observatory’s repository of solar activity. Records of solar activity capture a de-phased, distorted and out-of-sync plurality of events –indexed as single instances. ‘Softcore’ approaches the notions of interference and patterns of difference, as to unfold their implications for an understanding of diffractive time and –subsequently– the convergence of timelines, distinct temporal scales and simultaneity.
This notion of interference concerns both the apparatus and the object, the nature of light and the apparatus itself. The retrieved signals are readings, and so is my processing. The instruments we use to collect solar activity data are engineered to filter out the vast and predominant noise that would otherwise significantly obstruct a –theorised– pure and isolated access to the sun. In their obscured and concealed constitution, these instruments are tailored to predict error so as to cancel it out. In ‘Softcore’, my processing of these signals deliberately amplifies the resolute noise that, despite the efforts of science, still managed to permeate our records.
8’20’’ from ‘Softcore’
8’20’’ –titled to echo the amount of time it takes for sunlight to reach the Earth–, presents approximately 8 minutes 20 seconds of solar activity data, collected during the peak of the Summer Solstice, June 21st 2021. The data, in text form, is spread out progressively throughout the publication; there is barely any other text included in the design; limited to title, author, and page count numbers.
The pages are bound together –again– progressively, but are arranged as if the book were composed of single-page signatures. Each page is creased vertically, folding into 8 modules that are designed to each conceptually represent an instance of time, a sample. The data itself reads as sequential arrays of numbers indicating intensity values for the full frequency spectrum of collected data during the given timeframe. The pages are folded and bound so as to have their modules distributed evenly, and thus have the book be consistent in width. The book-binding structure allows for the creased modular pages to fold in a multiplicity of ways, warping the time axis –the horizontal axis. Time is no longer represented progressively. –This gesture reiterates how solar records register de-phased, out-of-sync events and how such distortion informs an understanding of diffractive time and convergent temporal scales.
The binding is structured to follow the graphic representation of a pure sinusoid waveform, and this is made explicit in the design in at least two significant ways: in the placement of the page count numbers, and in the intended course of reading.
Initially, the object reads just like any other book –from left to right. Page by page, the reading advances up until we arrive at the last numbered page, just before the end covers. At page 115, we reach an inflexion point. Up until then, all pages were always numbered on the lower right corner; with even numbers always hidden behind a page pocket and odd numbers in plain sight, oscillating in and out. Yet, the publication is 230 pages long; until page 115, we have gone through what structurally represents half a pulse. The printed data in plain sight represents the positive arch described by the pure sinusoid waveform. Starting then, halfway, at page 115, and moving now backwards, towards the beginning, the page count continues to increase; only, this time, numbered on the bottom left corner of each page. Now, odd numbers remain hidden behind a page pocket, even numbers in plain sight; oscillating in and out. The data, however, is now also hindered. The binding barely allows us a proper read, a straight-on look; this was purposefully designed to represent the negative arch described by the pure sinusoid waveform.
The publication was entirely printed using Risograph printing, in Munken Pure paper –100gr and 120gr. The design exhibits hidden graphic covers, which are the only prints in colour included in the book; the rest of the publication is printed using black ink.
The pattern for the covers depicts increasing and decreasing sampling frequencies comprised within the very same 8 modules that all pages are consistently folded into. More gradient inflexions stand for an increasing sampling frequency, fewer for a decreasing sampling frequency.
The publication exists, simultaneously, as a sculptural element that, when spread out, reveals, in a clearly abstract manner, sun-like qualities. The spine is kept open, and the stitching shows; it follows a logarithmic structure. In 8’20’’, the horizontal axis is a measure of time, the vertical axis, the spine, represents the frequency spectrum, which is usually depicted following a logarithmic structure.