Marjan Moghaddam: Adoration of Telephone: Speak To Me

  • ©,



    Adoration of Telephone: Speak To Me


Creation Year:



    Computer-generated 3D modeling, rendering, and fractals output to Archival Digital C-Print, Laser Matrix process


    36 in x 40 in



Artist Statement:

    Adoration of Telephone: Speak To Me is from the Digital Entities series, a collection of computer-generated print and time-based-media fine arts projects by New York City-based digital artist Marjan Moghaddam. The series explores visual forms for non-material and non-corporeal identities. In the Adorations, computer-generated 3D females are reconfigured into the pictorial space of classical painting, seeking their origins as representational and Euclidean visual constructs.

    The digital entities are paired with the technologies they originated out of as part of a constructed futurist mythology. As female parthenogenetic entities, or non-material maternal entities, they are modeled as basic and primitive humuncli with their own inherent fractal dermal pigmentation. They return our mesmerism of screen-based artificial realities with adorations of their own evolutionary origins in machines and technological cultural artifacts that defined our shift towards post humanism.

    For much of the 20th century, the telephone came to extend the reach of the human voice and ear across great expanses. As an early post-humanist extension of the body, the telephone continues to present the “space” of remote conversa­tion, an alternate space as valid and essential as physical space. Today this “space” extends to cover remote conversation with individuals and data as part of ubiquitous computing. Remarkably, the true test of AI sentience in our world also consists of a remote conversation in the Turing test. In the constructed mythology of this series, the digital entity invites us to a conversation.

Process Information:

    The print-based images consist of computer-generated 3D virtual environments, with high-density geometry, that are rendered at high resolutions for output to archival digital C-prints. The series makes no use of scanned elements or visual components that originate outside of the computer as part of investigating the unique and “original” aesthetics of the computer.

    As digital sculpture, the entities and their associative “space” are mapped with high-resolution fractals and procedural textures that define the self-similar patterns of their non-material informatics realm. The pixel-rich resolution and miniature aesthetic of the prints surpass that of film in further exploring the technological possibilities of resolution for “virtual photographs” of digital bodies in digital space.

Affiliation Where Artwork Was Created:

    Long Island University