[NetBehaviour] The digital decomposition of 10 Ruston Close

John Wild john.wild at network.rca.ac.uk
Fri Aug 12 13:51:48 CEST 2011


Can't see the pictures? View it in your
browser<http://www.greatwesternstudios.com/bulletins/john_wild_august_2011.html>

*The digital decomposition of 10 Ruston Close
An installation by John Wild
15th August – 6th September 2011
10-6pm Monday to Friday, weekends by request
Private View: Thursday 1st September 2011**
*

Location:

Gallery & Project Space
Great Western Studios
65 Alfred Road
London W2 5EU
Admission: Free

For his exhibition at Great Western Studios, John Wild will present an
interactive installation that explores the relationships between trauma,
memory and architecture within the digital era.

A photograph of 10 Ruston Close, formally 10 Rillington Place, will be both
projected within the gallery  and made accessible online. Each time the
image is viewed, either online or within the space, a single pixel will be
removed from the image. Over the period of the exhibition the image will
decompose directly in response to the number of views it receives.

To participate online go to 10-ruston-close.com.

Pierre Janet wrote that, ‘Certain happenings would leave indelible and
distressing memories – memories to which the sufferer was continually
returning…’. The Traumatic events, which we so readily identify with the
location and architecture of 10 Rillington Place, lead to an attempt by
developers to repress the memory through the disappearance of the
architecture itself. First by changing the name of the street to Ruston
Close, then the eventual demolition of the house and the redesigned of the
area to purposely obscure the position and layout of the old road. Thereby
preventing a newly built house being readily identifiable as occupying the
same plot upon which the old house once stood.

Whilst great lengths were taken to bury the memory of 10 Rillington Place,
the advent of the internet has lead to the emergence of numerous websites
where, like Janet’s ‘continual return’, maps, photographs, and testimonials
appear like hallucinations which are trawled in an attempt to return,
relive, and understand this moment of violent rupture which continues to
haunt the digital collective memory.

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