Star Trek Non Places


"…non places are the real measure of our time; one that could be quantified – with the aid of a few conversions between area, volume and distance – by totalling all the air, rail and motorway routes, the mobile cabins called ‘means of transport’ aircraft, trains and road vehicles, the airports and railway stations, hotel chains, leisure parks, large retail outlets, and finally the complex skein of cable and wireless networks that mobilize extraterrestrial space for the purposes of a communication so peculiar it often puts the individual in contact only with another image of himself." - Marc Augé, Non Places: Introduction to an Anthropology of Supermodernity

Images via Space Trek, a tumblr devoted to "the quiet despair of the Starship Enterprise." (via Boing Boing)




Craig Kalpakjian


Craig Kalpakjian, Monitor II (1999)

Craig Kalpakjian, Stair (2000)

Craig Kalpakjian, Unlearning Object Permanence (2009)

Craig Kalpakjian, Dear Tech Support Operator (2004)

In my earlier sculpture and installation work, I used found and fabricated elements–barriers, detectors, and security devices. I was interested in the technology of deterrence and passage, movement and restraint as well as crowd control and traffic flow. This is what I was thinking about with the work involving bullet-proof barriers and waiting line stanchions.

One of the things I wanted to do with these sculptures and installations was to call into question notions of safety, security, protection and vulnerability, and to confuse the sense of inside and outside. While I always liked producing slick and seductive objects, in some sense I was more interested on their effects, both physically and psychologically, on the space around them. This charged mental space is already, in a sense, virtual, so working with 3-D software (at first just to arrange and visualize installations) seemed a great way to explore these ideas.

Narrative and cinematic movement were always important to me, and the first 3-D works I did were in fact animation loops that were output to video. Nevertheless I quickly became fascinated and obsessed by the great detail possible in still images. The sense of imminence and the implication of the covert, of a beyond just out of reach, is of central importance to me. This is what leads me to say that the spaces I depict are in a way haunted. I do love the almost cheap or tongue-in-cheek sense of mystery involved, but the emptiness of the images speaks to a sense of absence and loss that works on many different levels, and I think loss is very important to technology in general.

Although they are often seen ...