In early 2017, the Bulletin of the Atomic Scientists published a dramatic update to the so-called Doomsday Clock - a measure of humanity’s peril - advancing it to 2.5 minutes to midnight: the closest point to global disaster since the Cold War era. Endless Nameless (2016), was completed just before this latest Bulletin was released, but responds to the prevailing calamitous discourse along similar lines, using generative media principles and the mechanics of time to effect a visual representation of uncontrollable political and social entropy.
Endless Nameless operates as custom software application which attempts to create all possible two- and three-dimensional geometric shapes (excepting circles/spheres) in a virtual space, across the whole of the visible colour spectrum. Every 60 seconds, mapped to real time, the work will eradicate itself and then begin anew. Therefore, each minute that passes will see the production and destruction of a wholly unique set of images and forms: no two generative cycles will ever be the same, nor is it possible to quantify the seemingly-infinite mass of objects introduced in a given cycle.
To borrow from Paul Virilio’s The Aesthetics of Disappearance, in some ways, Endless Nameless could be thought of as a sundial in desperate pursuit of a form, so that it might effectively distinguish between light and dark.
