But other than Penalva's Kitsune, Tech/No/Zone doesn't have much to make its case for human transcendence of the technological. Patricia Piccinini's Plasticlogy very interestingly simulates a forest with 50 TVs of oscillating, 3D, computer-generated trees -- the effect is so real it's easy to make a mistake at first. But in the good-bad debate over techno art, the piece could go either way.
While other works emphasize human realities (William Kentridge's animated film about the horrors of apartheid), deal with the random and non-technological (Rachel Lowe's film of scribbling on the window of a moving car), and show the falsity of simulacra (Dorothy Cross's film about fabricating, then smashing a glass eye), the critique seems unfinished. In short, Tech/No/Zone advocates the human without showing the value of the human, and that's where it's incomplete.
What: Tech/No/Zone
Where: MOCA, 39 Changan W. Rd. (
When: Until January 12, 2003
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