PROXISTANT VISION is an installation by Synne Tollerud Bull and Dragan Miletic, on show at the Museum of Craft and Design in San Francisco til 19 March 2023, but you can get a sense of it from the PROXISTANT VISION website. According to the Museum’s website, the work explores the impact of digital aerial imaging technologies on everyday life, though my sense of it was more that it was a precise dissection of the operation of some of those technologies.

Synne and Dragan created PROXISTANT VISION with curator Carol Covington and various collaborators at the University of Chicago and the University of California Berkeley, as part of their PhD research. The installation consists of three, interrelated rooms, each of which plays with the relation between distance and proximity as it is articulated by various technologies. Ferriscope explores what can be seen from urban observation wheels, from the first – immense! the cabins look like railway carriages – Ferris wheel at the World’s Columbian Exposition in Chicago in 1893, to more recent versions in London, LA and Vienna. Venetie 1111110001 works with various images of Venice, including a map from 1500, a view by Google Earth and photos of the carved wooden blocks used to print the paper map. The third piece, Zoom Blue Dot, occupies the space in the museum between the rooms occupied by Ferriscope and Venetie 1111110001. A robot moves around the space projecting a video showing a Google blue dot from outer space down to the interior of its phone screen pixel display. All the spaces are lit only by these the various projections, and the projecting equipment is explicit and even rather ostentatious: a robot no less but also complicated arrangements of projectors, machinery, mirrors, a revolving rhombicuboctahedron, cables and scaffolding.

Each room has a light box with a QR code that connects to a considered and detailed discussion on what each piece does. Most of the commentaries focus on the notion of proxistance: the zoom in and out, from proximity to distance, each tethered to the other through various aerial imaging devices: the ferris wheel, the satellite, the microscope, the projector. In that sense, this work is cousin to Laura Kurgan’s meditation over a decade ago on being Close Up At A Distance (now available in paperback I notice), although the focus on the urban view and the smartphone gives an important supplement to Kurgan’s arguments I think. It brings bodies into view rather more directly, for example, just as these technologies have become so much more pervasive in everyday experience since Kurgan’s work. This is given rather literal emphasis in the installation as none of the projections are confined to one screen or frame: all fragment and disperse in various ways over the bodies of the museum visitors, so that we too become screens for these projections.

The project website suggests this is all about surveillance, the view of everything – if no longer from nowhere, rather from a specific set of technologies. My experience of the installations though was rather different. Precisely because each installation foregrounds its own technological devices so fully – indeed, its own technicity – it makes it clear that different technological assemblages will generate different versions of proxistant vision. Even the smooth, seamless, incredible zoom from outer space to the components of a pixel have been patched together from different images created by satellites and microscopes. There is no singular aerial view.

Moreover, each installation suggested to me at least that, just as proximity and distance are conjoined, so too is coherent vision and its failure. Each showed a different version of this. Venetie 1111110001 played with scale and glitch: the image of the map and the Google Earth view became fragmented and shards played across the walls of the entire room, mixing up with glitches in the digitised version of the 1500 map and what were probably photos of its wooden printing blocks but might have been something else entirely, and what was also possibly a computer-generated image of Venice flooded. Or not. The robot wandered around doing its own thing, its projection beaming onto different surfaces and reflecting in random ways off of bodies and the mylar surrounding the Ferriscope room. As for the Ferriscope, that projection starts with very slow images – ferris wheels are slow – but speeds up and up until it starts to swing around the entire room and to lose visual recognisability, fragmenting into what the human eye can only see as the red, green and blue of the pixels.

All of this suggests a much more complex visual field than popular notions of surveillance and spectacle assume. It suggests a multiplicity of such views which, because each relies on a specific assemblage of technologies and bodies, don’t align. And it suggests that each contains not only proximity and distance, but other antinomies too: coherence and dispersal; integrity and incoherence; legibility and glitch. These things need to be thought together, it seems to me, and PROXISTANT VISION – or visions – is a generative prompt to do so.

With thanks to the Berkeley geographers who joined me at the Museum of Craft and Design: Emma, Clancy, Maria, Alexis and Fiona.

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