Digital-Material-Loop





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




In the twenty-first century, the seemingly infinite capacity for digital data storage systems and the relatively easy access to personal archiving platforms has made it possible to shift private mementos that once were collected in physical form, into digital space. The storage of digital information in which personal files can be accessed in any given order implicitly suggests an archive or database. As Lev Manovich argues in his essay, ‘Database as Symbolic Form’ (1999), the concept of the database presents a new order in which one might structure and navigate the world. This idea of understanding the world as a “list of items”, however, stands in contrast to other culturally significant forms of meaning-making, such as narrative. In a narrative, information is organised in a ‘cause-and-effect trajectory of seemingly unordered items (events).’ (1999, 85).

My current work re-imagines narratives that might emerge in digital record keeping through speculating upon their continuous relationship to the material world. Arguably, processes of digital hoarding— or the de-materialisation of physical possessions, and their transformation into digital assemblages—suggest implied narratives that are somehow embedded within the material world. Various elements of my investigations for this body of work involve exploring 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.

︎click here for Verge Gallery’s exhibition page and conversation with Tesha Malott, Director of Verge Gallery, Sydney




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


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



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



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



Corinna Berndt, “Text(ure) Map”, digital collage, dimensions variable, 2020. 




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



Corinna Berndt, Big Data, digital video, 2019.



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



Corinna Berndt, “Digital collage all the photos found on my mobile phone”, dimensions variable, 2019. 




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




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



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




Corinna Berndt, ‘Collision Level’, installation view, St Helliers St Gallery, 2019. Photo: Andrew Curtis



Corinna Berndt, ‘Collision Level’, installation view, St Helliers St Gallery, 2019. Photo: Andrew Curtis



Corinna Berndt, ‘Collision Level’, installation view, St Helliers St Gallery, 2019. Photo: Andrew Curt







Mark