Within the material-immaterial dichotomy structuring the creation of media artworks and its inherent informational aesthetic, one may observe fractures or continuities. Considering media artworks through the notion of translation of materialities, the aim of this paper is to analyse some of the multiple roles that absence play within and surround this sort of aesthetic experimentation. The discussion is unfolded through the articulation of Vilem Flusser’s media theory – namely considering the zero-dimensionality of electronic and digital media and the concept of Mediumsprunge. These concepts are exemplified through historical and contemporary media devices and artworks technically based on light-to-sound translations. The discussed examples were partially selected from references and methodological tools used in a cross-disciplinary practice-based PhD research on photosensitivity in relation to media history and media art history conducted between 2014 and 2018. The methodology combines a historical and analytical approach, through new materialism, media archaeology, cultural techniques and second-order cybernetics. The significance of the discussion is exposing both the artistic freedom (or emancipation) and the arbitrariness (and responsibility) implied in bridging the gaps involved in media artworks.

中文翻译：

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声音翻译的内部和周围缺乏

在构成媒介艺术作品的创作和物质非物质二分法及其固有的信息美学的内部，人们可能会观察到断裂或连续性。通过实质性翻译的概念来考虑媒体作品，本文的目的是分析在这种美学实验中和围绕这种缺失的多种角色。Vilem Flusser的媒体理论清晰地阐述了讨论的内容，即考虑电子和数字媒体的零维性以及Mediumsprunge的概念。这些概念通过历史和当代媒体设备以及技术上基于光到声音翻译的艺术品得到体现。所讨论的示例部分选自基于交叉学科实践的博士研究（在2014年至2018年之间进行的与媒体历史和媒体艺术历史有关的光敏性研究）中使用的参考文献和方法工具。该方法结合了历史和分析方法，唯物论，媒体考古学，文化技术和二阶控制论。讨论的意义在于揭露弥合媒体作品中的空白所隐含的艺术自由（或解放）和任意性（和责任）。文化技术和二阶控制论。讨论的意义在于揭露弥合媒体作品中的空白所隐含的艺术自由（或解放）和任意性（和责任）。文化技术和二阶控制论。讨论的意义在于揭露弥合媒体作品中的空白所隐含的艺术自由（或解放）和任意性（和责任）。