I wrote an essay released in tandem with GLITCHOMETRY: Daniel Temkin‘s solo exhibition, held at Transfer Gallery, New York – November 16 through December 14, 2013. The publication also features an interview with the artist by Curt Cloninger. Excerpt from my essay : Glitchometry turns away from the ‘new earth’; the milieu of cyphers that constitute our contemporary audio-visual cognizance. By foregoing the simulations relied on when Photoshopping an image Temkin assumes an almost meditative patience with the will of the digital. As with Duchamp’s infra-thin – ‘the warmth of a seat which has just been left, reflection from a mirror or glass… velvet trousers, their whistling sound, is an infra-thin separation signalled’ – the one of the image and the other of the raw data is treated as a signal of meagre difference. Data is carefully bent in a sequence of sonifications that always risk falling back into the totalising violence of failure. Download as PDF More info : danieltemkin.com and TransferGallery.com

Influencing Machines are described by their troubled inventors as complex structures, constructed of “boxes, cranks, levers, wheels, buttons, wires, batteries and the like.” Sometimes these devices are thought to be their doubles, unconscious projections of their fragmented bodily experience. Patients will typically invoke all the powers known to technology to explain their obscure workings. Nevertheless, they always transcend attempts at giving a coherent account of their function: “All the discoveries of mankind,” Tausk asserts, “are regarded as inadequate to explain the marvelous powers of this machine.”

Tausk took his term from an apparently magical device invented in 1706 by Francis Hauksbee, a student of Isaac Newton. His “Influence Machine” was a spinning glass globe, which cracked like lightning when touched, transmitting an electrical spark and emitting a greenish neon light when rubbed—a mysterious luminosity which was called “the glow of life.” These apparently supernatural effects were caused by the introduction of static electricity into a vacuum; it worked like the shimmering vacuum tube of the modern TV. Its psychological incarnation had similarly mesmerizing effects: “The influencing machine,” Tausk wrote, “makes the patients see pictures. When this is the case, the machine is generally a magic lantern or cinematograph. The pictures are seen on a single plane, on walls or windowpanes; unlike typical visual hallucinations, they are not three-dimensional.”