Access operates both in and out of zero-sum constructions, all at a time. If the instrument (and therefore instrumental) is technology, the directed act of picking up and placing down renders a technic. There must first be identification of an instrumentality, made visible in conflict, where the border that delimits the world through use and disuse becomes an interface. The interface is a line of permeable exchange, the figuration of each side permuted at threshold. In precarity—inevitable precarity, for such an artefact designed with transient function—exists irony.
Insistence is low; bypass trivial.
Like a solution, homogeneous and heterogeneous (inverted upon local examination), its character alters by proximity. Existing in perpetual competition, the oppositional logic of inaccess distethers from exclusion.
Liam Macann is an emerging arts practitioner with a theoretical focus on the philosophy of technology. Recently graduated with a Bachelor of Fine Art (Honours) from UNSW, his research-intensive practice engages with a profusion of disciplines across an agile and experimental body of work.