In an earlier era of Television, Fishcams were an alternative in places like Hong Kong, Australia and Canada to the famous test cards, as a way to fill the signal when the tv transmission was active but no program was being broadcast. They consisted of a video camera pointed to a fish tank that transmitted live the monotonous movement of fish. Ironically, Fishcams became quite popular and at times surpassed the ratings of normal tv broadcasting to the point that recordings of fishcams were sold on VHS for home consumption. This phenomenon of Fishcams highlights the pervasiveness of media and the relationship between body and signal. In this sculpture an ecosystem is created in the form of a mise en abyme where mind and media space are intertwined in an symbiotic tuning. Technology as a body wrapped in an electronic medial skin where interiorities are intertwined. The installation consists of a cube tank placed in the middle of a pitch black square room. The tank occupies 1/10 of the space to suggest a relationship in the form of arithmetic sequence between the sculpture and the architecture. Below the tank a screen loops a video sampled from Jean-Luc Godard’s movie “Two or Three Things I Know About Her”. In this particular scene the camera focuses a swirling coffee while the narrator reflects on the limits of subjectivity and the objects that are placed between, inside and around an individual subject. Audio is heard from the fishing tank collecting white noise and samples from piano jazz lullaby that loop in an hypnotic eerie fashion.
