ReMapping RGB Light to Foreign Bodies

TRITON MOBLEY

PRESENTATION: 5 PM MT  TUE  AUG 25, 2020
SCREENING OF CODED #00000: 7 PM MT  WED  AUG 26, 2020
PRESENTATION: 12 PM MT  THU   AUG 27, 2020

RECORDED PRESENTATION #1:

RECORDED PRESENTATION #2:



REMAPPING RGB LIGHT TO FOREIGN BODIES:
This documentation marks a body of research conducted over three years producing a set of speculative design + computation works. An interventionist praxis working towards a critical restructuring for new possibilities on how RGB spectrum could potentially be rendered more equitably. Over this three-year time period of research and praxis I was able to fabricate four design + computation works that iterate their critiques along with the elaboration on production. Coded #000000 [v1 – Bars + Tones] was the first in the series using computation as its primary mode of inquiry for contrasting the limitations of RGB light against the reproduction blackness. This was followed by Coded #000000 [v2 – Image Processor] which allows for a closer inspection of the viewing image—pixel by pixel. Volumetric Black installation is a fabricated display array providing 16 alternative possibilities for viewing recorded black bodies. And most recently the development of the Volumetric Black Lens system. A camera lens apparatus that attempts to document blackness using a modification of computational RGB. What this work is interested in is the gradual revealing of how technology has led us all to this point where the accuracy of digital representation is in tumult. Questioning the logics behind the coded social productions that proliferate through every aspect of our lived experience and coming to terms with the enormity of its half-truths and shortcomings. As the artist David Batchelor articulates in Chromatic Algorithms, “Colour is either the property of some “foreign” body or relegated to the realm of the superficial”. By extension the computational formations in this digital age via RGB spectrum has a shared absence in its make-up—for Occidental thinking of color or pigment becomes an additive process that requires [an] application for its functionality.


Triton Mobley will be presenting on Tuesday, August 25 at 5 pm MT and Thursday, August 26 at 12 pm MT.  There will also be a live screening of CODED #00000 [Black] at 7 pm on Wednesday, August 26. 

TRITON MOBLEY:

Triton Mobley is a new media artist, educator, and scholar. His new media installations have been exhibited at Art Basel Miami, Art Miami, and he has staged guerilla art interventions in Boston, New York, Providence, and across Japan. He holds an MFA in Digital+Media from the Rhode Island School of Design and is currently an Annenberg Fellow and doctoral candidate in Media Arts + Practice at the University of Southern California, where his research and practice studies the socio-economic disparities of emergent technologies faced by marginalized communities as a result of the digital delay. His most recent artworks, the diptych Coded #000000 and Volumetric Black, uncover the literal en/coding of anti-blackness into digital image-making technologies. This research has been presented at the African American History, Culture & Digital Humanities’ Intentionally Digital, Intentionally Black conference in Maryland, as well as the Art Machines: International Symposium on Computational Media Art at City University of Hong Kong.

Triton has championed new media education for more than 15 years, working at the frontier of the technological modernization of secondary and tertiary education. His belief is that new media education is a discipline that offers a wonderful confluence of opportunities merging artistic and practical technology based solutions, allowing his graduates to be intellectually active listeners, rigorously questioning conventionality wherever it may exist in their daily lives. In 2005, Miami-Dade County Public School named him Rookie Educator of the Year. In 2006, he worked with RISD’s Teaching + Learning in Arts + Design program to create the Digital Project Open Door, a new media art after school program.

In 2011, Triton designed and implemented the first new media arts curriculum at Friends Seminary in New York, and in 2012 he was invited to redesign RISD’s Summer Graphic Design program. Triton was awarded a S.T.E.A.M in education grant by Friends Seminary to conduct research at the Museo Nazionale Scienza e Tecnologia Leonardo da Vinci in Milan in 2014. Most recently, Triton joined the animation team at California State Summer School for the Arts in the summer of 2018 to collaborate on expanding their new media curriculum.