It is the lake itself which becomes the producer of its own representation. The movement of the waves becomes notation – a form of handwriting written by nature itself. Similar to the graphic methods of physiology at the end of the 19th century, here the line becomes a system of inscription for external processes of movement, impulses and forces. Systems of drawing that emerge this way call to mind cartographic aerial photography images, which, despite being direct recordings of physical processes, deprive themselves of direct readability as a result of multiple interpolations. Consequently, their aesthetic appearance tends more towards an abstract cognitive realm.
The specific appearance of a landscape-ideal is not understood here as an abstract image of nature observed from a distant shore. Rather, the recording process takes place in a moment of instability and movement directly on the water. A transfer results: from transient into the visible tangibility of the drawing. The visualisation of the intangible through an apparatus moves this technique towards the domain of photography.
Nature documents the idea of past and present as a condition of existence in temporality. Frozen in a seizable moment, the drawing gives a sense of the abundance of time (‘Kairos’, καιρός) –‘from something here to something there’: the axis of time as a fleeting moment which focuses on the fragmented character of existence. Consciousness presupposes an awareness of time.
Today’s understanding of time is primarily influenced by the term ‘Chronos’ (Χρόνος). In contrast to the chronograph, which separates time into measurable intervals and as such describes the quantity of time, the concept of time in Greek mythology ‘Kairos’ deals with the quality of time. In the Western-Christian tradition this finds parallels in the notions of the ‘abundance of time’ or the ‘turning point’, whereas in existential philosophy it relates to recognition of the opportune moment. In order to grasp the ‘right’ time point as a fruitful moment, there have been divergent methods of tracing this idea in various cultures. Thus, for example, people have watched the flight of birds and star-filled skies, or they have thrown bones to discover the quality of the current time.
The work ‘wave sensor 2.1’ represents a quasi-scientific attempt to make the quality of time visible by means of the movements of the waves.
Thomas Henninger, wave_sensor 2.1, 22. November 2015, WhiteSpaceBlackBox, Route des Falaises 96, CH 2000 Neuchâtel – Switzerland