The two pieces that I found the most interesting MoMA’s New Order: Art and Technology in the Digital Age exhibit was Mark Leckey’s Made in ‘Eaven and Harun Farocki’s, Eye Machine I. The first features a view that revolves around the reflective sides of a Jeff Koons Bunny. The camera isn’t seen in the reflection because the video is a digital rendering that has been transferred to 16mm film. What struck me initially was the odd feeling of seeing a digital image on 16mm film, the smooth and unnatural surface of the sculpture and walls juxtaposed with the film grain. Leckey doesn’t own the Jeff Koons piece but he inserts it into his studio and then transfers it to a physical medium. The piece made me think of the way in which the current age of digital media and the internet has seen a blurring of reality and fabrication. The digital age is a time in which the authenticity of information posted online is subject to question, and ideas sprouted on the internet can manifest themselves into real life actions. In the way that reality becomes augmented, our senses are too.

I found Harun Farocki’s  Eye Machine I interesting in the way it demonstrated the precision in video technology developed for automation. The video features images of digital displays that automated machines use to perform their tasks, juxtaposed with images of video technology developed for the military. The video demonstrates the relationship between domestic and military tech, with the latter outfitting the former. The military has always been the progenitor of domestic technology but something about the fact that the piece focuses on video technology gave me an eerie feeling. The piece shows the sense that we all use in a cold and calculating manner, devoid of life. An aspect of human experience developed for analysis, data processing and precision that no person would be capable of.