Brita Filtered Futures

Brita Filtered Futures is a living interface in which its audience can partake in the development of the contemporary depiction of ‘the masterpiece’ – the artist.

The installation consists of po-mo promo videos for crowdfunding campaigns which are attached to sheep. The crowdfunding project ‘that wins’ will be the future deviation of the artwork.

Video A. The Living Gallery

Video B. Still Making Art Lingerie

Video C. PostNorma Gold

Video D. The Coffee and Tea Masters

Installation Preview Video (Craig David Version)
Living Gallery Script

(look to the left for a few seconds in a normal face, then smile whilst still looking to the left, look back, and start)

Hi, my name is Aaron McLaughlin and I am an art piece.

This deviation of the Brita Filtered Futures interface is a studio of research for a technological ‘living design’ interface that will reframe the ‘viewing dynamic’ of the gallery and the very idea of an audience.

*take three deep breaths, in and out, slowly*

Over the next few months I will develop a living design digital interface in the format of a ’Living Painting’. This will be a new platform of the gallery where the presence of an audience will be a deviated input for the never refined *‘artwork’*.

*refer to self and smile*

For the instigation of this model, I will devise a digital canvas where a viewer or multiple viewers heartbeats will have a direct aesthetic effect on the pre–imposed composition.

The underlying purpose of this work is to digress from the ‘White Cube’ into a ‘Green Stage’ where an ‘artwork’ would be lifeless without it’s audience. Even with one present the outcome of the work would still be somewhat unpredictable. However with their direct participation, be it individual or otherwise, the gallery space remanifests itself as hub of shared self-reflection.

*hold breath for a longish period with cheeks puffed out*

This idealistic breathing art Arcadia will be loaded with ‘inadvertant professional’ counterparts. Although a spiritual and artistically viable progression of the art gallery, it’s imperative it should be marketed to ‘wide appeal’ consumerism.

As with art which has a quite defined demographic, the living gallery, which will evoke the format of living filtered interfaces, needs no specific demographic but instead yearns for a *universal input*.

*both hands addressing the audience aka the camera*

As opposed to the ‘White Cube’, the ‘Green Stage’ provides opportunity for celestial chaos and creative miracles, all of which are individual to the present interpreter.

*one deep breath, very slow, stare at the screen for a few seconds in a plain face*

*blow a kiss*