Faraday’s After-Effect

How does data travel? Does it have a language? Can we listen to them? Are we a part of the metadata that exist in real time?

Converging with the collective knowledge of information available in the phase of digitalization, the strangeness that I encounter in the streets of Dhaka reveal a techno-centric asylum which is the norm in the late-capital era. We relish their directness but do not wish to be touched by their haunting quality.

The work addresses a socio-technological system in which networked, human, virtual and technological elements play the role of participants parts. The screens show an extension of my previous work dubbed Wire Formation in which I create a record of the visual clutter that occurs due to the entanglement of wires and represents the chaotic reality of Dhaka city.

The mixed media manifestation is an audio-visual experience consisting of seven cathode ray tubes (CRTs) that have been stripped of their covers to expose the insides; one of which that is malfunctioned hanging diagonally while the other six are working. The CRTs are mounted in a wire frame that is 16 ft high and is inspired from polyhedral shapes reminding us of structure and form. It has transformed from the experience and imagination of a digital age rendezvous. Wires have been an element which is the most common phenomenon that is in abundant to the visual consumption in the city. Apart from that, I am fascinated by shapes and forms and regularly use them to create a topological awareness. The installation consists of inorganic and nonfunctional noises that actually do not mind and matter but are continuously competing against each other to gain attention from people nearby — a sample of the soundscape in which the average city dweller is immersed in unconsciously.

The installation is entitled, Faraday’s After-Effect as a satire which is the consequence of the future past. The fact is befitting as we have responded to solve these questions.