RIGHT CLICK IMAGE AND ZOOM IN TO SEE CODE (pc command only)

This project appears mathematical in nature. It is however more about language. Translations are done to increase the numbers of people who can understand a concept. This series mathematically translates computer code for light into a word, the word translates into an image.
“I saw a collection of colors that were being represented as numbers. The numbers I thought were percentages but in actuality they were decimal values. They ranged from 0-255. I had to find out why;. I searched the Internet to find the explanation. People use the decimal system but a computer uses the hexadecimal system. The hexadecimal system is based on the power of 16 rather than the power of ten. In order to convey the system a combination of numbers 0-9 and the letters A to F totaled the 16 needed. A color is expressed for example FF0000 hexadecimals is 255,0,0 decimals. This translates to the eye as red in the RGB color system used by computer monitors. The RGB system is also what we see because it is the system of light.
The code therefore consisted of color codes that were discernable as words. These words were collected from the code and investigated (further translated). For example the color code for pale green is DEFACE when read by a computer graphics program. I translated the the word using Chicago dialect to mean THE FACE. A reasonable visual translation of THE FACE became Da Vinci's Mona Lisa,” discerns Renier.
see a list of the words
This was a revelation for Renier. All the work he had been doing on the computer with color with texts had all along been based on a number and letter code. The expression of every structure he had worked on in the past years was nothing more than a series of letters and numbers expressing a set value. The word value resounded through his head. What had the highest value but a value that was almost impossible to express?
The value of his eyes was the most immediate answer. Renier took a digital photograph of himself taken in Rome. He wanted the idea to belong to the BLOW-UP series. Therefore vectors needed to be used and a process needed to be developed. The process consisted of cropping out his eyes from the photograph leaving 1.5 x .5 cm to work with. The image of the eyes were then magnified 3200% revealing each pixel as a visible square. He sampled and noted each hexadecimal value. Finally he re-typed the hexadecimal value in the hexadecimal color and arranged them in proper sequence on a canvas that was 2000% larger than the original image. Each value is repeated four times to fill in a square representative of a pixel.
The resulting image is incomprehensible unless a proper distance for viewing is found. Once this vantage point is reached (it will vary from person to person based upon quality of vision), the image will reappear in a photographic state reveal the artist’s eyes.
These two variations of blowing something up are mechanically intriguing. In the first examples you need to visually condense the image to reveal the photograph (possible only with the use of a computer) the other example with the hexadecimal system you need to physically remove yourself from the picture plane in order to expose the photograph.

“I would like to comment that while these two variations visually differ they are technically the same. The translation of a photographic image into a vector drawing remains, what differs is that the one is a reconstruction of the surface and the other is the rebuilding of the structure,” explains Renier.
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