Crystal Radio
Full Citation
Permanent Link: http://ufdc.ufl.edu/AA00013445/00001
 Material Information
Title: Crystal Radio
Physical Description: Project in lieu of thesis
Language: English
Creator: Molina, Cristina
Publisher: College of Fine Arts, University of Florida
Place of Publication: Gainesville, Fla
Publication Date: 2012
Abstract: The interactive installation Crystal Radio transmits an intimate devotional into a viewer’s skull via the consumption of a crystalline confection. Led by the voice and image of an elusive lover, viewers traverse through a constellation of moving images and enact the position of ‘loved object’. A vocabulary of visual, audible, and edible forms are remixed to render a contemporary carte du tendre, (map of tenderness) that exist within various topographical structures--that of the cavernous space within the viewer’s own body,and more broadly the installation setting of the gallery space. Directly addressed to the reader, this paper will focus on the models developed over a history of works that prompted the creation of Crystal Radio. Such frameworks include the relationship between two figures, methods of gifting in the confrontational and amorous mode, and the use of technology, structure and language to explore the dynamics of interpersonal relationships.
General Note: Art and Technology terminal project
 Record Information
Source Institution: University of Florida Institutional Repository
Holding Location: University of Florida
Rights Management: All rights reserved by the submitter.
System ID: AA00013445:00001


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Project Option in Lieu of Thesis Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts University of Florida 2012 SUPERVISORY COMMITTEE Jack Stenner (cha ir) Katerie Gladdys (member) Craig Smith (member) CRYSTAL RADIO By Cristina Molina


2012 Cristina Molina


// For You, dear reader.


Acknowledgments 5 Abstract 6 Chapter One Intro : What I Want For You 7 Chapter Chapter three: Two Figures Engage / Exchange 11 Chapter four: Crystal Radio 26 : Conclusion 33 List of Refere nces 38 Biographical S // Table of Contents


// ACKNOWLEDGEMENTS Much gratitude is owed to my committee members, Jack Stenner for his wisdom, generosity, and for his instructional ability to make the technically complex seem like a piece of cake. Thanks to Katerie Gladdys for indulging me in food experiments and making me realize that a piece of cake is for teaching me the importance of constructing a materials library, in order to gather meaning from its de-construction. Man y thanks to my friends, Maria Trujillo for graciously crystal growth. Awni Issa, Venessa Monokian, Daniel Portnoy, Arlen Ruiz, and Kim Yantis thank you for assisting me with the magic of cinema (lighting, costume, effects, and make-up). To Brad Smith for his master carpentry for their CAD genius. To Josh Cajinarobleto for his steady soldering hand. To Garima Thakur for her typeface and design scrutiny. To Wes Kline for his socratic questioning, Speci al praise goes to my family, Olga Maria Fleites, Jon Grea needed to materialize this project. Finally heartbreak, reconciliation, and understanding that inspired CRYSTAL RADIO 5


// ABSTRACT Abstract of Project in Lieu of Thesis Presented to the College of Fine Arts of the University of Florida In Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Chair: Jack Stenner / Major: Art the consumption of a crystalline confection. Led render a contemporary carte du tendre, (map of setting of the gallery space. Directly addressed to the reader, this paper will of works that prompted the creation of Crystal Radio. Such frameworks include the relationship confrontational and amorous mode, and the use of technology, structure and language to explore the dynamics of interpersonal relationships. CRYSTAL RADIO 6


//CH APTER 1: INTRODUCTION : WHAT I WANT FOR YOU Reader, I want to share a current experience I want to do for you. I was standing in the Germany. It was daylight and I could smell the smoke emanating from a barbecue and the exiting from a darkened passage just to one side of the yard. Curious to see where they were going/ coming from, I approached the area and entered into a long hallway. With each step, my pupils dilated wider, the light was escaping from my own hand up to my face, I would be unable to see it. Feeling my way into the darkness I continued walking until I reached the opening of a pitch-black room. Uneasy because of my lack I was startled by the feeling of a slight hand on my shoulder and waist. A woman had been approaching me the whole time, but I could not see her until she was right next to me. She delicately guided me through the center of room, and her touch and pace were so gentle that I was not afraid. We continued walking together for about ten seconds and then I felt her hands release me. I looked up only to realize I was not in complete darkness anymore. I could now see CRYSTAL RADIO 7


CRYSTAL RADIO 8 had also been led to the center until their eyes could adjust, and then were released to walk 1 Aga in, this is what I want for you. I want you to be curious about meeting me somewhere a hold of you. I want you to let me walk with you side by side so that I can lead you through a to describe my thoughts and materialize them like scenes that appear spontaneously before your eyes. Some of these may seem familiar before, or read about them in important books, them. I want to do these things because this is how I operate. I am a hostess, and I bestow gifts upon you to seduce you, and delight you. But as you know, with hospitality comes great responsibility. So I must warn you that my generosity is not always benign. Sometimes some form of reciprocation. Other times I will you from my gentle grip. I will let you decide what this place is, and how long you want to stay. 1. Description of entering This Variable, 2012 a performancebased work produced by Tino Sehgal for Documenta XIII at


CRYSTAL RADIO 9 // CHAPTER TWO: TWO FIGURES Let me begin at the beginning. I will introduce place them in a scenario so that you may see an example of the way they interact. One character is walking in a circle muttering silently to herself. She stops for a moment to hold her own body, and suddenly leaps with joy. She chants and hums. Again she stops. Remembering a betrayal, a notebook and is seen furiously scribbling, a remains absent, and disengaged. It is absence breaks free from itself. A circuitous rhetoric, a language of extreme solitude...a structural speaking within (herself) amorously while not speak 2 We are witnessing a language of amorous seduction, a place where a declaration legend, a sacred history 3 2 this description to explain the sanctity of language held by


CRYSTAL RADIO 10 This Barthian into a larger producer/consumer model that always in question, at times it is common for one character to upstage the other and hold all the authority as is the case with the absent to another. Other times still, the two can be seen on the same plane, a sense of control oscillating between them like a ping-pong match. In order two opposites I engage both parties in a situation of exchange. In some instances a transaction occurs when one bestows a gift upon the other; an edible sculpture, a confection, an operetta, the other is meant to remain as a mere witness. Included in this exchange is language; the act of speaking materialized as romantic prose, encounters point to the body, particularly the mouth, as the aperture through which these exchanges pass; it is here that both physical and metaphorical manifestations are consumed, digested, and excreted.


CRYSTAL RADIO 11 // CHAPTER THREE: TWO FIGURES ENGAGE / EXCHANGE Gifts: Confrontational and Amorous Modes Beware of the Greeks bearing gifts for a gift may not always be as generous or benign as it seems 4 of reciprocation, graciousness, and the wish to is found here, at a sorbet-colored ice cream push cart. Three performers clad in candy striper dresses gather around. They sing along with a MIDI electronic tune that emulates Frere Jaques: Have a choco, have a choco iPop treat, good to eat! Go ahead and scream out, show desire with a shout gather round, make the sound. to which they direct their attention. A procedure is explained ; Gifts of custom crafted popsicles are housed within the iScream Machine. Such gifts can be obtained by merely screaming for ice cream. One must place their face into the front of the cart, open their mouth, and scream to the highest capacity An Arduino-powered 4 Refers to the Greeks who honored the city of Troy with the gift of a monumental horse. Once inside the city walls, an army of soldiers burst out of the horse and conquered the city. The iScream Machine, 2009


CRYSTAL RADIO 12 LED scream-o-meter illuminates and measures the the amplitude of a scream. A scream in the red zone earns the highest prize. Sweets are hierarchically modeled after the most popular Choco iPop, Blackberry Bon-Bon Raspberry Razr, and Orange-Ocher Nokia are up for grabs. the sound of a bell. Each ring meant a reward was coming, and so excited, the dogs would drool in anticipation of their treat. Similarly, a bing of a text message or the swooshes of email emanating from my mobile phone, would produce a sense of excitement within me. I did not drool, but I was classically conditioned by the mechanics of this product. Th after asking: When is a time that a human of being a child and running after the infamous neighborhood ice cream truck raced through my mind. There was something magical in that experience that urged a more important question: Who are the producers of desirable questions in mind, I sought to recreate an anticipation and reward deeply rooted within a producer / consumer relationship. But how The iScream Machine, 2009


CRYSTAL RADIO 13 a de-stabilized model, one which created a platform that questioned the capital at stake. No monetary funds were required for the exchange of this confection, instead a piece scream...is the operation through which the entire body escapes through the mouth. 5 A sc ream is a commitment. It suggests an exertion a subject is willing to impart upon presence, la pure presence du corps 6 by a gift, the scream materializes a subjects bodily presence. A present for presence, if you will. Therefore, an ice cream popsicle transcends a benign treat, and becomes a Confrontational gift: Ge nerosity in the confrontational mode uses, gifts, generous actions, and alternative exchange systems as a forum for social dissent and criticism. Based on a nominally gregarious or generous gesture, the projects within this group have an underlying interest either in questioning the politics of unequal distribution of wealth or in creating a 5 Delueze, Gilles and Bacon, Francis. Francis Bacon: The Minnesota press. 2003. Print. 6 Rushton, Richard. Passions and Actions: Deluezes 2008 Print.


CRYSTAL RADIO 14 temporary system where market capitalism is replaced by other modes of exchange such as barter and redistribution. In either case, the capital economics that normally permeate our public lives and interactions are scrutinized and transformed 7 I enact the role of producer, therefore I also engage in a mode of confrontation. Antagonistically I bestow a gift and say, Yes, this is for you, but in return you are obliged to give me a part of your soul 8 Such a gesture disrupts a consumers feelings of control. A scream in exchange for a sweet, highlights the meaning of capital, as it transforms an immaterial gesture into one that confronts the is the one who accrues power in this case. Suc h a confrontation also occurs when the gift consumes you. A present becoming a presence. standing in a nearly empty room. The sole object, an enormous free-standing greeting card that surpasses your height. Lured by its scale, but also by a direct address, you read the term of endearment Darling onto its surface. Filigree patterns decorate the structures skin. Curious for a more detailed look, you take a few steps closer and then stop 2005. Print. 8 As described by Marcel Mausss notion on gift relationships, that things create bonds between souls Greetings, Darling 2012


CRYSTAL RADIO 15 short--the proximity of your body releases a sudden burst of operatic song. You are the Darling, and you are being serenaded with banal wishes, congratulations on graduating, and peer inside the greeting. Instead of the text you Listening more carefully, you realize that the : Verse One: Darling, my darling, darling, why I hope your wish comes true Your sweet sixteen is happening My sympathys with you Its always hard to say goodbye I heard that its a boy! A box of smiles on your day Lets celebrate with joy the book: Sandman, Larry. A Guide to Greeting Card Writing.


CRYSTAL RADIO 16 Verse Two: The sweetest song is sung for you Congratulations dear Your graduation, wedding day A prosperous new year Hoping youll feel much better soon Well compromise our love Thank you for your thoughtfulness Youre what Im dreaming of Archetypes of contemporary recordable gift cards produce Greetings Darling, 2012 This work exists as an all encompassing greeting in the most literal sense; it includes a formula which can be replaced with any sentiment. Exaggeration of scale and abrupt bursts of aria mark a moment of confrontation--it is impossible for you as a consumer to possess this gift but rather, you are the one who becomes engulfed. One who produces gifts in the amorous mode: The amorous gift is a solemn one; swept away by the devouring metonymy which governs the life of the imagination, I transfer myself inside it altogether. By this object, I give you my All, I touch you with my phallus; it is for this reason that I am mad with excitement, that I rush from shop to shop to shop, stubbornly tracking down the right


CRYSTAL RADIO 17 fetish, the brilliant successful fetish which will perfectly suit your desire. The gift is contact, sensuality: you will be touching what I have touched, a third skin unites us 10 Wh their historical importance, touristic attraction, and scenic allure. At each location I prepare a dining experience; a table draped in a white lace such a scene, I write a romantic bilingual text to honor each site. Compositionally arranging the objects within the space, I document the Images and texts are combined to produce a series of stereographs, which are then strung from the gallery ceiling in a mobile-like fashion. dedication. On the face of the card, the locale acts as a pictorial description of the gift set within an urban landscape; on the rear of the card the site is one of language--bilingual texts Sabor Saver Savor 2011


CRYSTAL RADIO 18 run together and create a muddle of amorous notice that the meals portrayed remain uneaten and untouched. A choice that suggests a through the science of optical illusion. A play on words, Sabor-Saber-Savor, 2011 includes the phonetic English spelling also directly alludes to the Freudian oral stage 11 or the idea that one introduces things into the mouth as a child does, in order to come to a better understanding of the world, as a way of Excess a nd Satiation In the second half of the story, the psychologist continued to ring his bell and present the food, satiated, their hunger had ceased. One step after satiation is the repulsion that occurs after being continuously exposed to a stimulus. 11 Part of Freuds Theory on infantile sexuality and child is stimulated through actions for desire and pleasure, Sabor Saver Savor 2011


CRYSTAL RADIO 19 I see the trajectory of this initial longing to of an entire heart-shaped cake. This cake has been tenderly crafted for me: it have my cake and eat it too You, the standing witness, watch me. You watch as an image of an untouched confection sits in the right frame, while my dangling curls obstruct my actions on the left. Cause and effect: as one frame shows the cake being consumed, the other shows the impact of that consumption upon the structure of the heart shape. After a few seconds my tongue is on my face. As I continue to eat like an animal, only utilizing my mouth, the dilapidating cake assimilates a demolished landscape, or completed my task. Nearing the end, I become repulsed by the saccharine ingredients, and a thick maroon syrup surges from my lips. You look, as I look in horror, at the chewed up remains of the now inedible Red Velvet cake. This image r eferences another gesture, one in which two tons of chocolate and two tons of Uneaten portions of chocolate and lard were then Red Velvet 2011


CRYSTAL RADIO 20 spit out and sculpted into candy and lipsticks the transformation of the corporal self into something that no longer registers as desirable social currency. 12 Fix ated on the moment of satiation I remember he touched into gold 13 a thought spawned the following imagery. A slow motion image of a sparkling basin. Bright red lips. The boiling liquid from the basin rising up mouth spewing out gold. Concluding Scintillation, 2010 is an image of the mouth licking its lipssatisfaction after the act of purging a glittery appetite. 13 In response to the kindness Midas showed Silenus, Dinoysuss father, the god Dionysus granted Midas the gift of Scintillation 2010


CRYSTAL RADIO 21 Transformation of voice and language The heart is the organ of desire (the heart swells, weakens, etc., like the sexual organs), as it is held, enchanted, within the domain of the Imagerepertoire...The heart is what I imagine I give. Each time this gift is returned to me, then it is little enough to say...that the heart is what remains of me, once all the wit attributed to me and undesired by me is taken away: the heart is what remains to me, and this heart that lies heavy with itself... 14 In t his scene, you will watch as the heart because you hear a familiar melody of classical empty seats. You sit down. Across the projection scenes there are glittering orbs, a young girl whose gaze was to the ground, but whose eyes lifted upon seeing you in the room. Illuminating her body and the wall behind her is the cartoon image of a fairy tale princess. You realize then that you are looking at a projection of a projection. Such projected images turn from in a waltz. Intermittently these scenes are interrupted by the luminous foil, and shadows Helium Hum 2010


CRYSTAL RADIO 22 of dancing balloons. You see the girl again, she opens her mouth, takes a breath, purses her lips, and delicately hums the intro to So This is Love, the screen. This causes the projected images that light up her lips to appear as a mere color shifting grid that locks her into place. You can track, because you hear it playing somewhere amongst the dead space of the room she is in. She sings the song in its entirety and you You sense that this is an intermission of sorts, and that act two is about to begin. The girl has something in her hands, one of the balloons. and takes a bite out of its crest. After a brief scene of a lingering shadow and a watercolored moon, you hear the slurping sounds begins to play once more, and the girl begins to sing along, only this time she breaks in order to intake helium breaths. As she sings and song. She continues to sing, and extracts all the air from the balloon until it becomes a heart shaped carcass that she tosses onto the ground. The song ends.


CRYSTAL RADIO 23 A Heli um Hum is not the moment when you suck is the moment you realize that language has failed to describe what can only be known, not by singing, but by feeling, Song is the precio us addition to a blank message, entirely contained within its address for what I give by singing at once my body (by my voice) and the silence into which you cast that body. (Love is mute, Novalis says; only poetry makes it speak.) Song means nothing: it is in this that you will understand at last what it is that I give you; as useless as the wisp of yarn, the pebble held out tho his mother by the child 15 of irony. If there deciding that maybe I would try to speak once would play out, how the dialogue would shift between us, the dynamics of control I


CRYSTAL RADIO 24 space in language that gets in the way of true communication and intimacy. In order for us to really speak we had to be the same, and stand on the ground of the same plane. The answer extending from an oscillating fan at the hardware store. As the head of the fan rotated, another fans wind speed pushed the ribbon away. A the naked eye, was marked by this simple ribbon. Upon seeing this, I remember being a child and playing with an oscillating fan in my home. I placed my mouth close to the grill, turned on chopped and robotic because of the rotation of the fans blades. As I sang la-la-la my tongue accidentally came through the grill and butted up against one of the plastic blades, in shock I turned the fan off and cooled my tongue with ice. Only one fan can speak into another without getting its tongue bitten. When Two Fans get together and speak, they say: Once we stood in front of one another leaps of faith replaced by cautious parameters, we measure our words, we lie we say that it must not go on this way but wait! you waited, now it is my turn Two Fans 2012


CRYSTAL RADIO 25 waiting, the fate of the powerless shifts of control are happening with every line spoken an underlying subtext the absence of your language is the indication of exhaustion we form two perpendicular lines breaks in the hours undulate, tenderness, resentment, and the anxiety of proximity it will last until we both have had enough. Ren would imagine a fan to possess, is a dialogue between two equals. They stand on the same plane of chroma blue, a site that enables the replacement of itself with any other image in space and time, a site of pure potential. Speech spin hypnotically; A neon ribbon that emulates swallowed up by one fan, eliminating the space between them; Together they fall, into an image Two Fans, 2012 attempting to speak to each other but ultimately 16 they transcend together into their future. 16 Barthes describes the will to possess or Sobria Ebrietas Two Fans 2012


CRYSTAL RADIO 26 // CHAPTER FOUR: CRYSTAL RADIO This is what I propose: The future is a site enabled by a declaration. The launching pad of such a site, resembles the setting of a highly skins are made of mirrors, therefore the rest of the room becomes a fragment of architecture images are centralized on their faces. You approach one orb, then another, and another, Set atmosphere, she is alone. Inspired by the absent Tensing and releasing the weight of a large harp in the background, as a spinning bow and arrow eclipse the foreground, she references images you know to be associated with stories of Eros, Aphrodite, and the like. A lovers discourse is one of solitude and mythology 17 an exercise in preparing to utter a declaration, one which measures the weight of words, the weight of music and song, the weight of a consequence. Crystal Radio, 2012 (video still)


CRYSTAL RADIO 27 As if posse ssed by some demon of language slowly while a pulsating crystal interjects are remains of hardened tears, her eyes are pearl colored portion of her eyeballs. Resembling an image of St. Theresa 18 a moment of pure joy or pure terror, she is in a state of loquela her body language resembles a saying: I take a role: I am the one who is going to cry: and I play this role for myself, and it makes me cry: I am my own theater. And seeing me cry this way makes me cry all the more; and if the tears tend to decrease, I quickly repeat to myself the lacerating phrase that will set 20 A clus ter of crystalline rock candy is seen brewing amidst a basin of boiling water in the face peers through. This sequence suggests that a super-saturated solution, an offering to her located in the Cornaro Chapel in Santa Maria della Victoria, Rome, Italy language through which the subject tirelessly rehashes the effects of a wound or the consequences of an action... Crystal Radio, 2012 (video stills)


CRYSTAL RADIO 28 disappears from the frame. As of these gestures, but that is about to change. An attendant approaches you with a crystalline inside a buzzing crystal shaped base. The attendant instructs you to bite down on the candy, and so you do. Once your mouth has enclosed head, It says: Listen to me Your head is a cave and it houses everything Your ear is close to my mouth My lips are close to your ear Hello See my words as geometric, look to the left see how I have labored for you by waving my hands to sculpt you a song Dont be nervous pace the room slowly I am here And you will find me This is all for you There is romance in this room and if I made it dark then maybe Crystal Radio, 2012 (video still)


CRYSTAL RADIO 29 you could tell me all the things that you could not say in light your eyes would roll back, softly in your skull your lips would purse and be ready to speak You would take my hand into yours and trace a triangle on my palm with your index finger, then you would leave I would wait, get angry at you for making me wait, then forget to be mad when you returned-instead I would take your hand, extend your fingers and trace a triangle on your palm And when we hold hands, the triangles multiply, and make a new structure for climbing for speaking all of that which exists on the other side. A co mbination of what you are hearing and what urges that she is speaking to you and for you, this text then is a declaration of sorts. Nearing climbing the morphing crystal comes to mind, the other side. Enabled by this declaration, and Crystal Radio, 2012 (installation view)


CRYSTAL RADIO 30 the crystalline structure, the image-repertoire 21 is broken, a future is possible. ...a word i s a bit of a crystal in formation 22 A C rystal Radio is a simple radio set that utilizes message. Such a transmission is central to Crystal Radio, 2012, as it suggests the declaration communication, and therefore progress. Carefu l analysis of the Barthian this notion, as progress was a theme absent from the model. The root of the problem lie in life of muttering in the dark. As an attempt to was formulated. Crys structure for supporting this notion of progress. Varying stages of crystal formation can be seen throughout. The rock candy confection, for instance is a result of a sucrose solution 21 As described by Barthes, the image repertoire is the set of 22 Description of a crystal in Christian Boks Book, Crystal Radio, 2012 (installation view)


CRYSTAL RADIO 31 precipitated as a cluster of organic crystals across the space. An animated crystal structure more complex crystalline structure. The crystal image is not only present as a physical formation within the work, but also a more abstract architecture that scaffolds a potential imminence. Childre earth still has as material for our building games! Just think: We have rock! Metal and diamonds! And many beautiful sands! And water! Fire and air! We can blow--suck-hit-bore--lift--press--smelt-and soon we shall your fantasies, so that they will quickly build machines that can melt the crags at any point--happily smooth them down--cement the crevices with melted, multicolored spheres and crystals--like hardened cement--and launch glass bubbles like sparkling rockets. 23 Brun o Taut and other like-minded architects imagined an urban landscape composed of crystalline buildings. Much like the modernists society. Asymmetry, imperfect geometry and organic forms were their preferred structures, 23 Whyte, Iain B, and Bruno Taut. The Crystal Chain Letters: Crystal Radio, 2012 (installation view)


CRYSTAL RADIO 32 to the current social problems. Similarly my project Crystal Radio engages in the idea of an imagined future, as it is a structure that object-All of that which exists on the other side until she disappears from the frame, both the sound and image propose a space for the All of that which exists on the other side is a hopeful wish for progress that starts with a declaration and


CRYSTAL RADIO 33 //CHAPTER FIVE: CONCLUSION within a dichotomous relationship. These are glib trio of singing tricksters, who produce edible gifts to bestow upon an unsuspecting audience; upon; The amorous nurturer, who presents offerings of food and poetry to honor the absent satiated by consuming an entire confection anthropomorphizes two inanimate subjects, who engage in a tumultuous dialogue; The gothic embodied by an audience member or participant. Sec situations of exchange, in order to emphasize the power dynamic and shifts of control that occur between them. Such exchanges include gifting in confrontational and amorous modes, and the correspondence of dialogue and song.


CRYSTAL RADIO 34 exploration of thematics such as generosity, Th to enable these exchanges. Such technologies placed in relation to a body, my own, or the F inally, inducing a sense of affect is important to my practice because of its potential agency just recently. A breakthrough occurred with the piece Two Fans, 2011 in which I illustrated the two behind. This idea of progressing into a new, more hopeful site was further explored in Crystal Radio, 2012. C rystal Radio began once again with the object. I began with this model because of my Game: there were as many chairs as children, minus one; while the children marched around a lady pounded on a piano; when she stopped,


CRYSTAL RADIO 35 everyone dashed for a chair and sat down, except the clumsiest, the least brutal, or the unluckiest, who remained standing, stupid,de trop: the lover. 24 A Lovers Discourse from the image repertoire that is the image will to possess which equates to ceasing all committing suicide 25 Either way the solution is the same circuitous rhetoric. Upo n contemplating the solutions of death or agony, I concluded that they were too drastic. Instead, I wanted to propose a way for these free from stagnation. Crystal Radio amorous gift as a means of directly implanting transport happens (for all parties): by way of transgression or effraction. 26 25 Description of Sobria Ebrias will-to-possess section in A


CRYSTAL RADIO 36 in my work. Ultimately the project suggests that this friction carried within a declaration is one and hope allows for the possibility of change and progress within interpersonal relationships. The an unrealistic image of utopian fantasy, but rather an image of a hopeful future grounded Brian Massumis principles that hope must success or a rational calculation of outcomes 27 point that induces the potential for multiple Untit led (Portrait of Ross in LA) the artist Felix Gonzalez Torres, metaphorically rendered the dissipating body of his diseased encouraged to consume a piece as they engaged with the work. Such an exchange was one that symbolized Gonzalez-Torress wish to control the pain induced by the loss of his partner. New York, NY: Routledge.


CRYSTAL RADIO 37 the candy, a fresh batch is replaced, and thus restored once more. their romantic affair by embarking on a journey. They start as separate points, and agree to meet in the center. A man begins in the Gobi Desert, a woman begins at the Yellow Sea. After 2,000 kilometers, they walk past each other and say, farewell 28 The Great Wall Walk, is a in a romantic exchange, but does not offer a declaration is uttered as a dismissal to their relationship, and it is unknown when and if their paths will cross once more. Progress is still walking toward a future scaffolded by their interpersonal histories. Simila rly, Crystal Radio rhetoric of the image repertoire and suggests form of mutual exchange, and then progress, The future is a site enabled by a declaration


LIST OF REFERENCES1. Antoni, Janine. Janine Antoni. Ksnacht, Switzerland: Ink Tree, 2000. Print. Books, 2003. Print. 4. Delueze, Gilles and Bacon, Francis. Francis Bacon: The press. 2003. Print. 7. Pinsent, John. Greek Mythology. New York: P. Bedrick York Press, 2005. Print. 2008. Print. 10. Sandman, Larry. A Guide to Greeting Card Writing. 11. Whyte, Iain B, and Bruno Taut. The Crystal Chain Change. New York, NY: Routledge. Print. CRYSTAL RADIO 38


BIOGRAPHICAL SKETCH 2012. Molinas work has been exhibited in local and in Show curated by Fred Snitzer, The Urban ArteAmericas the Latin American Art Fair, The Proyecto Ace, Buenos Aires, Argentina. CRYSTAL RADIO 39