Computation breeds the illusion of order, nothing more. To equate and calculate is to delve into typology and strata – an attempt to order that which eludes the frame. The relationship between world and earth is one of the strife between computation and perception. The computer calculates as agent. The perceiver feels as object. The whole of the equation of life and art comes down to a grammatical structure.
Heidegger’s world and earth attempted to re-adjust the axis of planetary philosophical history. But Hitler and World War II intervened and the ghosts of Heraclitos and Parmenides could return to their rightful restful places as the American technological machine held sway. The sway of this machine now computes the world into a calculated division of social media, texting, gaming, and other interfaces with electronica. The more we aim towards agency, the more we become the objects of mathematics. It is the world that is computing us.
Few artists work within a paradigm of pure perception, of balancing the will with the work, like George Anastasios Magalios. Magalios, a reclusive figure with a reputation for pranks and rakish undertakings, divides his unified field into multiple selves: Jorge Griego, Will Swinburne, Georges Ducharme, and Giorgio Fati. Each such name or figure representing a calculated breakdown of the notion that artist must only produce one body of work. His heroes are those who defied this decree: Robert Rauschenberg, Joseph Beuys, Leonardo, Willie Mays, Jimmy Page, and Steve Kilbey.
This division of selves propagates in spite of art’s limitations, not because of them. Magalios is known to spend years working on specific series, sometimes alternating between a series of installations and a series of paintings. With his studies as a philosopher grounding his work into the paradigm of the ground palette, George Magalios becomes a perceiver of the whole as much as he is a maker of art. It is this emphasis on the whole, on the holistic fed by his philosophy studies, that makes his work crush, destroy, and dismantle any attempt at categorization or contemporary art nomenclature.