In physics, diffraction is a physical phenomenon that occurs when many waves encounter an obstacle in their path or when waves overlap. In new materialism theories—and most prominently in Karen Barad’s writings—seeing and thinking diffractively implies a critical and responsible engagement with the world. Diffraction patterns are patterns of difference and fundamental constituents of the world. They do not follow hierarchical or orderly thinking patterns but favor dialogical, accidental, uncertain, unstable, and unexpected situations to emerge.
Diffractive Archives relies on a series of methodologies derived from cultural studies, anthropology, technology studies, computer science, critical theory, media art, and design to collect and relate text, image, video, and audio content. The software uses computational techniques, code systems, and generative modeling—and is built to be scalable and extendable. The installation is accompanied by an extensive artistic research publication that explores notions such as material and discursive formations, submedial spaces, chronopolitics, or social memory in connection to the concept of “diffractive archives.” The simulations above include visual artworks by artists Pascal Grandmaison, Macoto Murayama, Lorenzo Oggiano, Stepan Ryabchenko, Yang Yongliang, Michael Reisch, Maija Tammi, Kate Cooper, Martin Sampedro, Mike Pelletier, and Zemer Peled. All visual content copyright belongs to the respective artists, whose work is included here for exemplification purposes only.
