In the generative video installations of the Echo series, Canogar opens his works to the data streams of the World Wide Web. His sources are websites that provide current data on rain, temperature, or wind, but also on air pollution or seismic activity around the globe. This source material is processed by an algorithm developed by the artist’s team and transformed into abstract animations. Their dynamic fluid patterns are based on complex mathematical descriptions of natural processes. The live data in turn influence various qualities of the generative animations, such as speed, rotation, and color.
The works’ viewers will experience our planet’s motions and stirrings in the rhythmic pulsations of colors and forms. Current environmental data and continuous changes are perceptible by means of visual fluctuations.
The term Anthropocene, which has become increasingly important in recent years, refers to the fact that in our time man is shaping nature. Human presence and influence on the planet can be seen in its ecological effects – from the transformation of landscapes through rock quarrying or deforestation to climate change. Current research on the Anthropocene is looking for solutions to address other ecosystem actors in this human-driven era. French sociologist and philosopher Bruno Latour speaks of the need to understand the ecosystem as a place of assembly in which many groups have a voice, not just humans. He calls for giving a voice to all representatives of this complex communication system ecology and making them audible². In Echo, Canogar establishes a visual connection to the ecosystem, but he is less concerned with making this data visible in the sense of a simple data visualization that reflects the data one-to-one than with an aesthetic reshaping of the material.