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Ian Cheng, Emissary Forks at Perfection (detail), 2015, ongoing live digital simulation, color, sound.

Ian Cheng

Pilar Corrias

Ian Cheng, Emissary Forks at Perfection (detail), 2015, ongoing live digital simulation, color, sound.

Ian Cheng has described his craft as the sculpting of behavior: The figures that populate his virtual worlds are digital objects endowed—programmed—with tendencies and protocols that vary their interactions while also allowing for certain developments to recur. Cheng calls these works “live simulations”; they are essentially models of systems that are simulated in real time and visualized as digital animations to approximate human perception of space-time. As such, they incorporate features of cinema and video games but play themselves, unraveling without human input or influence, capable of infinite variation.

The second in a planned trilogy of works devoted to the speculative pasts and futures of cognitive evolution, the simulation Emissary Forks at Perfection (all works 2015) was projected in an expansive panoramic format along one wall of the gallery opposite a long

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