Inherent (true) to its etymological definition (roots), Fabrica is an abstracted mechanized space operating on multiple modes of production, which often integrates two major interrelated continuous paradigms: image and text. 

 

The textual orientation is an incentive for academic study unfolding as a Ph.D. dissertation, which eventually becomes the conductor and the infrastructure of the visual output. Although Fabrica’s universe of images is not the direct representation of a particular past, present, or foreseeable future, in its internal mechanism, Fabrica seeks the Bild (image) as of Benjaminian epistemology, which can convey the dialectics in its system of production, layers of immanent meanings and their stance in time/space fabric. 

 

“It is not that what is past casts its light on what is present, or what is present its light on what is past; rather, an image is that wherein what has been come together in a flash with the now to form a constellation. In other words, image is dialectics at a standstill. For while the relation of the present to the past is purely temporal, the relation of what-has-been to the now is dialectical: not temporal in nature but figural [bildlich]. Only dialectical images are genuinely historical.”

Benjamin, 1940.*

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While the text (the construction of language and the narrative) can always be a trickster, Fabrica embraces the possibility of the visual output optically vocalizing a phenomenon, a paradigm, or the zeitgeist in which it emerges, belongs, sums up, and runs from. In this case, the technical apparatus Fabrica uses becomes the field of creation, whether the software, medium, or style delivers the result. The absence of the textual and narrative layer may lead to, first, the examination of pure aesthetic performance and, second, a more empirical and inductive analysis that examines the output based on technique, function, and operation that in a digital realm may refer to software connoisseurship, sustainability/standardization, pixel performance, and overall resolution. Although quite reductionist and isolated from all its internal and peripheral contexts, Fabrica welcomes this methodology of evaluation on its artistic production through the blend and variety of techniques, assembly system, and even metadata, embracing the fact that this faculty of analysis and inspection is rooted in 19th-century scholarship, the historical cradle of “scientific and technical progress.”

 

Even though nobody reads the texts, Fabrica reproduces this ground for foundation and to translate and reterritorialize its constellation of info-verse (which is occasionally disidentified, displaced, deterritorialized, and consequently decentralized). While an image can conceal or intentionally reveal its compiled nature (of technique, style, and subject matter), text tends to disclose a cognitive construction, the mechanics of the mind and the internal’s relationship to its exterior, and exteriority, which encompasses all the perceived, collected, internalized and conceptualized. The fabrication of a text is bound to these raw materials, cognitive boundaries, and reasoning, in which the degree of elimination determines the level of abstraction in a sphere of literary agency (overlapping with the visual paradigm). Hereby, Fabrica fabricates its new domain within this text, eliminating the requirement for a biography. Fabrica deeply respects your time, will, and patience that carried you to the end of this text.

 

Sincerely.

 

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* Benjamin, W. (1974), On the Concept of History. Suhrkamp Verlag: Frankfurt am Main.