Agnosia Constellation is a re-enactment our ancestors encounter with the world around. It explores the human cognitive processes, pattern recognition and phenomenon of extrapolation of meaning. It presents the narrative of development of a rationalization process, the empirical process and the construct of existence.

The site the work is presented, the tympanum above the entrance of the Museum, points to its historical reference; the museum as the place where knowledge and understanding of the world is preserved, as well as providing a guide, a notion of how the world has been and is being perceived and archived. It provides a fundamental reference of the processes that undergo within the museum, -a collection of contexts where we use to make connection, and navigate past, present and future. It functions as a guide to understanding one’s self relation to the experiences they are about to create within the museum.

In its intent the work is looking to provide a minimum referential elements that can create a context. It uses the absolute minimum of information and points to the perhaps the bare mechanism that creates contexts. The viewer is presented with one speck of light, at a narrow frequency of about 510nm. (green wavelength is the most sensitive to the eye). The speck persists for a brief moment followed by another spec on a different location after a pause. There are 3 locations where specs appear-a minimum of points needed to construct a shape-constellation.
My interest in showing this work comes from my process of exploration and understanding of visual perception and processes of cognition. I have vast experience of creating visual experiences that engages the audiences in various levels, including interactive and immersive works, large scale spectacles and intermedial engagements with architecture, performance, music, visual narratives and audiences of all ages.
This piece furthers my understanding of the range of visual experiences and I consider it as a exploratory quest for understanding visual experiences.

Like any time-based experience the entirety of the piece is constructed over time, with the exception that no element within the presentation exists on it’s own. It is a process of an un-constructed image can then be extrapolated into the formation of the meaning of the form and thus points to the mechanical process that is underlying the re-enactment.