I felt like I had myself walked into a visualization: Anna Dot

Within the multiple versions and copies remaining of Peter Brueghel the Elder’s The construction of Babel Tower, there is only one version in which the figure of a minstrel appears. This mysterious character points with his index finger towards something that is little defined. What is he meaning? Is it possible that he is anticipating a dystopic future? It is probably a ghost or a sort of render-ghost ante litteram (Render-ghosts are human figures that are included in constructions posters to indicate what the final result will be. Render-ghosts embody a promise of future).

Anna Dot’s artistic practice gravitates around the text and its random or programmatic drifts, and orbits around different media and formats. Her projects make use of performance, writing, sculpture and installation. At the highest space of ADN Platform she is presenting variations and (re)beginnings about a concrete subject: the possibility of a fast and high quality translation through programming. A tool that could be easily an antidote to incomprehension and that, among others, was proposed by Erwin Reifler and Douglas Engelbart, technological pioneers of 20th century. These engineers managed to imagine the future and motivated the development of automatic tools for treating texts with slogans like Reifler’s speech in 1952: “Give us graphiosemantically completely explicit texts and our engineers will do the rest”.