𝔓𝔯𝔬𝔧𝔢𝔠𝔱 | 🄿🅁🄾🄹🄴🄲🅃 | ̷P̷̷r̷̷o̷̷j̷̷e̷̷c̷̷t̷ | ̾P̾̾r̾̾o̾̾j̾̾e̾̾c̾̾t̾

McLuhan argues that electric media collapses space and time into a simultaneous field of relation; shifting our attention from action to reaction. Instead of representing this idea through narrative, I'm choosing to visualize it as an autonomous system.

Presentation

By releasing an AI agent into the web with no predefined goal, the project stages connection as an experience. Each webpage is planned to become a node and each hyperlink (hyperlink being connections between other webpages) as a line, forming an expanding network that reflects the collapse of geography into relation. I intentionally removed content and meaning to structure, resonating with McLuhan's idea that the medium shapes perception. 

The growing visualization is meant to feel overwhelming, mirroring the unified and fused environment of electric media. Ultimately, this work explores what happens when the web inhabit itself: when traversal replaces intention and relation replaces distance.

Living room noises

What you're about to hear is the ambient noise and the result of asking for help from a friend; in the living room, with five dudes, and a game of darts occurring in the background.

Audio

I wanted to express this piece through Cage’s belief that everything we do is music, not because anyone intended to perform, but because the space was already composing itself. In the same way McLuhan describes acoustic space as immersive and simultaneous, the sound does not move forward in a straight line Past moments repeat through loops, present voices overlap, and the listener is left inside it all at once. For as long as the recording plays, the room continues speaking, and we do not entirely choose what we hear.

My magazine

For this project, I transformed my original album set into a physical photo book, shifting the work from a digital archive into a printed sequence. On my phone, these pictures were just sitting in the camera roll. In a book, they more intentional. To show this repetition, I made it hard to ignore.

Magazine

The sequence still follows the same pattern: starts with boards that are clear and useful but gradually shift into glare, bad angles, cropped information, and an overload of information. The magazine itself becomes an object full of attempted remembering, but also of failure. It's a record of information that was captured but not kept.

McLuhan talks about how media shapes behavior. The phone camera made it easy for me to trade attention, like taking the photo was enough. Printing the work makes that habit physical. It shows how often "saving something for later" or "for tomorrow" turns into never looking at it again.

In addition, McLuhan describes environments as forces we do not always notice. The classroom environment encourages constant documentation, and my "promises" is this quiet disengagement. The last image then points back to the same loop: the board gets erased, I take another picture, and the archive keeps growing.

False promises

I regularly photograph classroom boards to save information for later review. While these images are taken with the intention of remembering, I realized that I almost never return to them. Instead, they accumulate in my camera roll, functioning more as evidence of capture than tools for learning. This project grew out of that realization.

Motherboard configuration

Starting with 187 photos, I edited them down to the first 39 and finally to the 20 image sequence. The cuts weren't based on which photos looked "best", but on which ones showed the idea of moving from legible, purposeful notes to repetition, bad angles, glare, cropped text, and finally boards that weren't useful. The series becomes an archive that fails.

In McLuhan's terms, the phone camera wasn't just about recording the classroom, it was about my behavior inside it. The medium encourages me to trade attention for storage, as if capture can stand in for learning. These photos memorialize something ephemeral (the board will be wiped), but they also reveal how easily "later" becomes never. 

No time

While I caught up with a friend, I looked far from us; a trail of footprints followed. I couldn't help but notice that a few of them stopped in the middle of the path. I saw a story: a beginning, an end, then a time in space where a singular point was detailed to tell a part of it. For as long as the snow did not melt, two different footprints spoke with eachother.

I wanted to express this video in a manner of McLuhan's ideology: everything happens at once. As McLuhan argues, electronic media produce an implosion of traditional space and time, causing past, present, and future to coexist rather than progress linearly. The footprints serve as traces, evidence of movement that has already occurred, turning time into something spatial, observable, and continuous.

I'm Anthony

Hey, my name is Anthony Chimbay, a transfer student from New York City, majoring in Computer Science. Originally, I pursued architectural engineering during high school for four years, creating a portfolio of designs (complexes, floor plans, landscapes, etc.). Though at the end of it (and some pressure from the pandemic), I noticed my interest shifting to the idea of creation with intent; something that was only seen in Iron Man as a kid. Hence, I became interested in the study of Artificial Intelligence, specifically the area of applied AI and Machine Learning mechanics in aerospace engineering. And so, after a two-year gap, I attended community college, which ultimately led me to Lawrence.

But the geometry of these buildings, and the data structures that create forms of communication, cultivated the artistic lens I carry today, that of a man who uses numbers as his canvas, where computation is seen, felt, and composed visually. This way of seeing is shaped by my synesthesia: the production of a sense impression relating to one sense or part of the body by stimulation of another sense or part of the body (Google). So when McLauhn said, 

When two seemingly disparate elements are imaginatively poised, put in apposition in new and unique ways, startling discoveries often result.

I recognized this not as an abstract theory, but as a description of how I experience information. Synesthesia causes numerical values, algorithms, and structural relationships to register visually, often as shapes, spatial arrangements, or shifts in texture. In this way, computation is not processed solely as logic, but as form. This perceptual overlap allowed me to approach problems intuitively, translating code into visual systems and treating data as something that can be composed, arranged, and refined much like architecture or art.