Transformation refers to a state of change:
from something to something else, something else that comes from this something, and in a (different) way is still essentially this something.
Something else, but the same – as I choose to think of it.
This is a line of thought I have brought with me into the exploration of the numerical material from the base project «one and one hundred dice rolls a day».
What kind of transformations the numerical material undergoes affects the experience of it ...
This series consists of six drawings that are all based on the same numerical material, from April 18, 2011
– day no. 6074 in the base project.
Here, each individual dice roll has been transformed – the drawings thus consist of one hundred sequences of short lines. The sign-form[*] used is semicircles where the smallest diameter represents the number 1 and so on up to the largest for the number 6.
The drawings also contain information about the numerical basis for the figures and about which rule that has been used. They also show the rule applied to the day's first roll. Here, the entire transformation process is included and made visible.
Common to all six drawings is the rule that each subsequent semicircle is rotated 90 degrees counter-clockwise before being connected to the end of the previous semicircle. The difference lies in which direction the six semicircles face ...
In this series of drawings, each drawing is based on one day's numerical material – transformed with two different sign-forms and rules.
One consists of straight lines of varying thickness arranged in columns – one column for each of the six dice. The thinnest line represents the number 1, and so on up to the thickest for the number 6. Each row is the transformation of one dice roll with six dice – the first at the top and continuing downward to the last roll at the bottom – a total of 100 rows.
The second is semicircles with varying diameters that build up long lines – where the smallest diameter represents the number 1 and upwards to the largest for the number 6 – a total of 100 semicircles in each line. A common starting point is made visible with a red dot, while the endpoints for the six lines are marked with small orange dots.
Here, the dice roll numbers have been transformed into a system of lines and sound sequences.
The same numerical material shapes both the line drawing and the sound sequence.
The numbers are dice number three's numerical material from May 7, 2012.
The sound spectrum is between 73 and 880 Hz.
The sound pulse varies between 1 and 6 seconds.
The treble is in the speaker element on the wall, while the bass is in a hidden speaker element in a box by the floor.
The sound is played at a low volume so that it lies as a somewhat withdrawn, but still present, pulse in the room.
These two works are both transformed using the semicircle as sign-form
– one in a two-dimensional form and the other in a three-dimensional form.
The sculpture is based on the numerical material from the first 40 rolls of all six dice rolled
on May 8, 2012.
The drawing is based on the same numerical material as the sculpture and is an actual projection of it – also considering how the semicircles lie on top of each other and intertwine in the drawing. Each line sequence has its own color to make it easier to follow them where they intersect.
A long sheet with a printout of the number sequences that form the basis for both the sculpture and the drawing, is also mounted hanging loosely against the other wall.
2018-2020
aluminum tube Ø 1 cm, MDF
approx. 130 x 170 cm and up to the ceiling (here approx. 240 cm high)
on a base plate Ø 240 cm
+
2020
digital drawing on paper, mounted on MDF
Ø 110 cm
4 6 6 6 4 2
2 1 6 6 4 1
5 1 2 6 5 3
1 6 5 5 1 2
4 6 4 3 1 3
5 2 4 4 5 1
5 4 1 5 1 1
1 3 4 2 2 1
5 3 4 6 2 6
The number sequences from the dice rolls are randomly composed and constitute a relatively neutral and at the same time independent and autonomous material.
It alternates and varies between six different units,
and the combination possibilities are almost endless. Still, the limited number of units is such that one can experience a form of figures and rhythms within the material.
This special numerical material has its own concrete
and latent properties. Various qualities emerge when it
is transformed and takes on different forms – such as
an image, object, movement, word or sound.