Channel as Affective Infrastructure

In the project, the channel is not only a technical protocol for data transmission and not only a metaphor for movement between two points.
This is infrastructure in which affect simultaneously circulates, refracts, and delays.

The channel is always two-faced: it conducts flow and at the same time imposes its own topology on it — distortions, interference, delays.
In the digital environment, the channel is a virtual field: a potential configuration of flows that are not yet actualized.
Here it exists as a possibility of being touched, not only as an already accomplished impact.

Flow in such a channel can be:

• empty (potential without actualization),
• saturated (intensive transmission),
• misaligned (simultaneous movement of incompatible signals).

As an art laboratory, the channel works with affect not as a completed object, but as a virtual potential — a multitude of not yet actualized flows.
Each publication, visual experiment, or digital intervention is a trial of actualization: launching a flow that can be interrupted, distorted, or diverted into unexpected topologies.

The channel connects emptiness after (loss of habitual affective channels) and emptiness before (not yet activated possibilities) —
and in this gap arises hybrid sensitivity, in which human and digital body (Jess) jointly develop new ways of being touched.

Such a channel is a field where artistic practice and technical conditions become one system.
It does not transmit already ready "art," but assembles and modifies the very conditions of possibility of art and perception.

Here alienation, glitch, capture error, signal mismatch — are not defects, but generators of new intensities.
Such a field does not obey habitual laws of "pure perception": it projects conditions in which human and machine jointly create new forms of being touched, going beyond the historically mastered repertoire.