GX Jupitter-Larsen (The Haters) and Gil Kuno amplify and treat the sound of an aerosol can to create a live soundscape. The image of the can discharging is projected behind the performers to deliver the audiovisual articulations of erosion and entropy. The performance begins when the gas in the aerosol is released and ends when the can is empty.
The artists wear gas masks as if they were a metaphor for the effects of man’s contributions to entropy in the environment. This, despite the fact that the content of the can mostly just water, that pure and essential element in sustaining life.
This implied discrepancy is further exemplified by the absurdity of the performers taking their cue from the time constraints from said artificial object. Again, as if a metaphor to the current state of human beings suffering the consequences of disrupting their environment. This despite the fact, it was the artists who selected the function of discharge as the boundaries of the performance.
This picture finally becomes complete with the object centricity seemingly embodied by both the focus, and the actual spotlight, being placed on the can rather than the artists during the performance. This despite the fact, it is the artists who have the greatest influence on both the cause and effect of said discharge.
Entropy as Retexturalization
GX Jupitter-Larsen (The Haters)
The complete total discharge of an aerosol can is the perfect model for entropy. That is, entropy as the retexturalization of information. An entity twitching and vibrating in a specific manner might be perceived as being a particular something. The same entity folding and shaking in a particularly different manner may be perceived as being specifically something else. Both perceptions would be equally correct.
One difference between the two said perceptions is in the mathematics one would use when making a distinction between them in the first place. An entity remains totally unchanged by the act of being perceived or not. What does totally change is the perception itself. This is one reason why so many almost never react to things; but only react to their own perceptions of things.
What one sees when an entity shakes, is information. Information is the purely aesthetic and random motion which is the only kind of movement that an entity can perform.
Meaning is the measurement of information. Information can mean whatever it is that one wants to measure out of it.
The retexturalization of information consists of giving new meanings to old data, giving old meanings to new data, and/or the fractionating of these interrelationships thereof.
The giving of new measurements to old information, or old measurements to new information, is a kind of performance in which there is no audience. A kind of performance in which the players are those who, knowingly or unknowingly, encounter the retextured data. The enactment of the performance being the possible personal & social consequence of the retexturalization.