When setting up the show as a visual exhibition I didn't want the white walls and cultural significance of an institutional gallery to contextualise the work into an uncritical specticle of power and commodity fetish.

Notions of the cutting edge and commerce are already too deeply embedded into digital technology at the expense of truly progressive concepts such as relational aesthetics and potential for open collaborative applications of technology. By placing second hand, older hardware close to the ground in a position of humble display I hoped to engage the eye in the paticipation of the viewer. I did not hide the technology in an effort to clean up the installation nor did I use the usual display solutions of plinths, frames, clear pins and/ or ceiling mounted projection. This low fi approach also makes more idiosyncratic and interesting visual relationships, which seemed to be appreciated by the participant-veiwer.

Overall the lo-fi aesthetic allows for the space a conceptual possibility for the work displayed and focuses on participation rather than passive observation.