Infinite Realities

Human Technology

“Human Technology” seeks to explore the ever-blurring boundaries between the human body and the technological devices that both enhance and define modern existence. This artwork presents a frame containing the silhouette of a girl, intricately overlaid with real wire and circuitry, symbolizing the deep entanglement of our biological selves with the technological advancements that are both part and parcel of our daily lives.

The silhouette itself serves as a canvas, where technology does not merely augment but becomes integral to the human form—suggesting that our identities and physical bodies are increasingly ‘wired’ into our technological creations. The inclusion of wires and circuits is not random; each is meticulously placed to both follow and highlight the contours of the human form, emphasizing the convergence of human and machine.

Adding an interactive element reminiscent of the classic game “Operation,” this piece invites viewers to engage directly with the artwork. The twist, however, lies in the singularity of the operation: the only removable piece is the heart. This choice is symbolic, questioning the implications of our growing dependency on technology. It asks: As we embed technology deeper into our lives, what remains of the human heart—metaphorically the seat of our emotions and humanity?

“Human Technology” is not just an artistic expression but a commentary on the potential consequences of this integration. It reflects a future where technology can enhance or perhaps even replace aspects of our biological existence, prompting viewers to ponder the ethical and emotional costs of such a future. Through this work, I invite the audience to reflect on what it means to be human in an age where technology is capable of penetrating the very core of our being—the heart.

-FeiFei Friedman

PROFESSOR INTERVIEW

FeiFei Friedman: I want to learn more about like, you and how, like you got into woodshop. And what inspired you

Lou Fuchs: I have a, maybe a more unique background and others that I was. I went into computer science and engineering. That was my first career. And so while I was going through working for IBM, and Austin, I would take a woodshop, there was a, there was a junior college, they would offer an open ended class, And I just build stuff. And so I always had an interested in that my grandfather was acarpenter from Germany. So when I worked with my dad a lot, and he was kind of the jack of all trades when we had buildings, and he would do all the work just to save money. So So you kind of learn to do all that stuff.

FF: So you would say Wood was kind of just at your expense, like it was already there.

LF: I liked what is the softness of it, the smell of it, the organic of it. And then I worked for a technical career. And then in 2000, a year before that, I took a wood carving, two week class in Austria. So you’ll learn to wood carve, and it was the traditional wood carving.

FF: I think I had a lot of issues in my art project. And like, how did you navigate all these errors? Were you ever set on something, but you want it to go that way? Not have to change it?

LF: I mean, when I went to art school, that’s what they always criticized me about, because I had a very distinctive way. And they said, That was a bad thing. Because you should kind of let the flow go. And if something changes, you should be able to take that flow. Yeah, but I agree. And I disagree, you might have a really fantastic idea. And so why do you want to change it? But maybe your idea isn’t as good as the next one? Who knows. And so that’s something that I struggle with is, this is what I thought, but sometimes I’m helping my students, especially like in sculpture one, they’ll do a project. You saw those metal pieces out there. Yeah. So I’ll take one and I’ll turn it on the side. So what do you think, Oh, that looks better. And so we’ll keep it thatway.

FF: What were your biggest challenges as in these art practices that you’ve been in?

LF: The biggest challenge is, I mean, or maybe even right now. I mean, just finding time through my own work. I’m just lazy. I just don’t do it. I mean, there’s always time, people say there’s no time I think it’d be as if you want to do something hard enough. You will.

FF: I would say like, does it help you motivate you? [Being] a teacher?

LF: I’m not sure if it really helped me art wise, because I haven’t done much. But I think it helped me I always like to take time to think outside the box. And sometimes students will do something to myself, I’ll say, Damn, I never thought about that. I’m gonna steal that idea. And I tell him steal it, I really do. But they do think I’m like, wow, I would never thought about that. That was such a great idea. And so I think it helps me to see how students do things.