Frag 029

Remote Viewing What we call perception is never whole. The visual and other sensory information we process, whether from a distance or up close, is always incomplete, sometimes inaccurate, and always mediated—by a device, a platform, a memory, a body, a history. There is always something in between. In this sense, seeing is not receiving. It is assembling. This has become clearer to me while I work on my unfolding Event Fields series, where I respond to geopolitical events (in this case, the war in the Middle East) by translating how they feel as they unfold at a distance. Much of what I see comes through fragmented lenses—short videos, partial accounts, aerial views, interrupted signals. There is never any total image to rely on, only pieces. And yet, something coherent emerges. Although the information I receive is incomplete, my mind – like all minds – is constantly filling in the gaps. You may also experience this in the accompanying Frags released in this drop. Like the original works from Fall 2025, these looping videos are constructed from rotating forms generated from multiple keyframe images rather than a single stable object. As the forms turn, the system invents surfaces, transitions, and spatial relationships that are not present in the original images. The object continuously changes, never fully resolving into a fixed form. And yet, the viewer often experiences it as one coherent object — the mind assembling continuity from fragments, instability, and approximation. The process of our minds filling in the gaps is not unlike how an AI image-to-video model operates. Given a keyframe image, the system attempts to generate motion, continuity, and spatial logic. It does not “know” the scene in any full sense. It interpolates—predicting what might come next, smoothing transitions, inventing coherence where none fully exists. We tend to think of this as a limitation of AI. But it may be closer to a mirror. _________________________ The Event Fields series is part of my current Remote Viewing collection, an ongoing collection that expresses how state action or geopolitical events are experienced at a distance. The Frags have their genesis in my long-term Project Native investigation, in which I set specific visual conditions that may best invite image-to-video models to express themselves, unprompted, according to their own perceptual logic. I then harvest the results and identify patterns, classifying them in an evolving taxonomy of native gestures. Both series reveal parallels between machine perception and the human experience of interpreting incomplete or distant information. Sound design by the artist with assistance from AI.