This is my 100th post to Limitless Pulse. Another milestone is just around the corner: the site’s first birthday is this next Monday. I considered saving this post for that day, but it’s hard not to post for such a long period when I’m finding information I’d like to share.

There’s been considerably less activity on this site most recently. That’s because I intended on using this 100th post as a place for me to reflect on the previous 99. With that task at hand, I kind of scared myself out of my regular posting schedule / habit in hopes of making this post a bit more meaningful.

A couple days ago I found a cache of documentation of Erwin Redl’s installations:

Erwin Redl: Fade1

My sister and I came upon our introduction to Redl’s work through an installation he had up in the Brooklyn Bridge Anchorage in 2001. It’s simplicity was inversely proportionate to the effect it had on the space and on us as viewers.

What strikes me looking back on the type of work I’m most fascinated by is that simplicity, and through simplicity the ability of works to convey a surprisingly large amount of information and to have a profound effect on the viewer. I’m reminded of Jim Campbell’s work which I was again able to experience recently. I also find myself drawing connections between Redl and the work of James Turrell and Robert Irwin. Additionally, Ben Rubin’s “Listening Post” strikes a chord here:

Like Redl and Campbell, Ben Rubin is working here with LEDs. This is a slightly lesser ingredient, yet it exists as a medium I find intriguing.

I’ve had an affinity toward these types of installations for at least 10 years now, the effects of which you could have seen starting with the “Lightwerk” show I did in Sacramento in 1999 and more recently in how I’ve approached incorporating projected imagery in the last couple Sound Noir events.

Though ten years old, this preoccupation is still in its infancy as there haven’t been too many examples in my work where its surfaced. Considering the realization of how much I’m moved by these pieces, what I see myself doing more of is researching these kinds of pieces, and working to incorporate more of what I find in my own production.

While I was out with Andrew a couple months ago, I described to him some loosely defined goals for consolidating my interest in technology with the work I do with visual art. “Have you heard of Processing?” he immediately asked. I have, and once I’m though these classes I’m currently enrolled in, I should have time to learn a third language.

At 100 posts in and embarking on the next 100, through the bit of introspection I’ve afforded myself here, I see that this site really has become a sketchbook of sorts. Often I’ve wondered if the contents of posts to this blog were too disjointed. Looking at it all now, it seems that yes, there are a lot of threads fairly loosely coupled, but they all conspire to create a picture of what I find arousing and lend to the posts documenting and describing the fruition of those influences.