Digital-Material-Loop

Corinna Berndt, “All My Chameleon Signals”, interactive digital work of 3D scanned personal items, 2019 – ongoing. *Collaborative text, written with American poet and academic, Cynthia Arrieu-King, and an artificial neural network

︎View a screen capture section of the work here
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Between 2019-2021, I recorded approximately 300 personal objects via a mobile phone photogrammetry app. The objects in the archive might seem familiar, yet the descriptions and quotes attributed to them confuse this familiarity and therefore our understanding of the object’s meaning. This also shows a disruption in translation factoring into narratives around the archived object. 








The work reimagines narratives that might emerge in digital record keeping through speculating upon their continuous relationship to the material world. ‘All my Chameleon Signals’ explores the potential of digital scanning to enable a hybrid materialisation of bodied and disembodied information. By extension, this process also invites an examination of the kind of languages, grammars and poetics that potentially govern these hybrid forms.

Corinna Berndt, “Not Born digital”, installation view, 2021. Photography: Zan Wimberley
screen capture of “All My Chameleon Signals” (excerpt), interactive digital work of 3D scanned personal items, 2019 – ongoing. *Collaborative text, written with American poet and academic, Cynthia Arrieu-King, and an artificial neural network

Corinna Berndt, “Not Born digital”, installation view, 2021. Photography: Zan Wimberley



Corinna Berndt, Big Data, digital video, 2019.

<sub>Corinna Berndt, “Streaming Data”, installation View, SomoS, Berlin, August 2019. Photo by Zack X Soltes





Corinna Berndt, Promises of Cyborgs, installation view, VCA Art Space, Melbourne,  2019. Photo: Andrew Curtis</sub>

_{Corinna Berndt, Promises of Cyborgs, installation view, VCA Art Space, Melbourne,  2019. Photo: Andrew Curtis}

︎View work here

_{Corinna Berndt, Promises of Cyborgs, installation view, VCA Art Space, Melbourne,  2019. Photo: Andrew Curtis}

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