Ein Garten der Erinnerung


Die Spur der Schrift

Der Flaneur


Im Dunkel der Nacht Licht














last update: 11 .7.2017

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As in my first art radio programm Alitheia , I am dealing with purely random messages which can be deciphered by means of a code. This code assumes the form of an abstraction, and I ignore certain elements, allowing a random choice of the messages's contend. In doing so, I think of signals from the cosmos which may or not be limited by background noise and which may contain hidden messages. In other words, one could find meaning in a signal which was at first nothing more than noise. Changing this code can destroy the meaning previously transmitted by the signal and vice versa. In Horizons, for example, the pure light of the sun (white; i.e., it contains all colours an information) comes into contact with the film in the open camera before being reflected off an object and photographed, as is the usual process in photography. White light contains all colours, and dispersion of this light is possible only in a prism or the observer's mind. in this case, the light passes the information from the reflected object to the film. I enter film with a certain spectral sensitivy as a code, and the light is reproduced at the border between the protected film (inside the cartridge) and unprotected film (outside the cartridge). Horizons are then created through manipulation of the cartridge's tiny felt fibers. When these parameters are changed (with infrared film, for example), heat waves in a desert are transformed into an icy landscape.

Translated by Steve Wilder

[Deutscher Text]

The Horizon is the uncrossable border of experience.

On the Horizon, the point of crystallization, the difference between that which can be experienced and that which cannot creates virtual realities. Even light is a product of the difference between two material states, and this light reveals its form only after reaching the border between film which is exposed to light and that which is not. Light breaks like the surf on a bordering surfaces. And it is at the edge that the nature of waves, the nature of the particles, the glory of the colours and the wild character of the light are revealed. This light burns itself onto the film, creating a lasting record of a moment in the photograph. However, the desire to cross the Horizon pushes us along without a pause. The "faster, farther, higher" of our time is also expressed in Artificial Horizons, which require more than a natural perception of things. No aircraft is without this kind of Artifictial Horizons, which lets the pilot know the position of his plane, and therefore his own position, despite a state of complete dis-orientation. The number of possibilities for expanding our limited world view far surpass our Mental Horizon. These Horizons are self-portraits of light, images of the purest light which contain all information and are completely emty of reproductions of the outer world. We should regard them as clues which must be deciphered. Does this not mean that we create the world in our own image and that reality can only be found inside us?

Alfred J. Römer

[Deutscher Text]