Certainty Shelter
» Exhibit at CANADA :: » shown info
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The time between ticks of the Geiger counter is the wholly unknown that makes up the fabric of the universe. It is the emptiness and unknowability of the machine. The computer translates that sublime unpredictability into a new sublime of information by taking the truly random intervals and making them true random numbers. Confronting the fact that no tick interval can be predicted is like accepting the reality of a vacuum: it exposed the limits of language and imagination.
» Exhibit at CANADA :: » shown info
» More
The time between ticks of the Geiger counter is the wholly unknown that makes up the fabric of the universe. It is the emptiness and unknowability of the machine. The computer translates that sublime unpredictability into a new sublime of information by taking the truly random intervals and making them true random numbers. Confronting the fact that no tick interval can be predicted is like accepting the reality of a vacuum: it exposed the limits of language and imagination.
Reflections on Past and Future Anxieties
A revisiting of Gauguin's painting "Where do we come from? What are we? Where are we going?" and T.S.Eliot's The Four Quartets in the form of PowerPoint in terms of the mathematical relation of anxiety to anxiety..
A revisiting of Gauguin's painting "Where do we come from? What are we? Where are we going?" and T.S.Eliot's The Four Quartets in the form of PowerPoint in terms of the mathematical relation of anxiety to anxiety..
Longest Painting of Death
"The Race Track (Death on a Pale Horse c.1896)" by Albert Pinkham Ryder, 27 3/4" x 35 1/8" stretched across 1 mile of pixels and traversed in 2 minutes, 11.2 seconds, the average speed of Secretariat.
"The Race Track (Death on a Pale Horse c.1896)" by Albert Pinkham Ryder, 27 3/4" x 35 1/8" stretched across 1 mile of pixels and traversed in 2 minutes, 11.2 seconds, the average speed of Secretariat.
Code Reflection
Text comes from list of computer code (Java) from Pace University faculty and students, or from text for 49 Androgynous Demons. Text can also be the code used to generate the piece itself (real reflection)
» Shown at Pace University March, 2006
» View Work
Text comes from list of computer code (Java) from Pace University faculty and students, or from text for 49 Androgynous Demons. Text can also be the code used to generate the piece itself (real reflection)
» Shown at Pace University March, 2006
» View Work
PornoPainter
(2003, digital work, projected/screened, running time 2min, Infinite)
This piece animates the words taken from the “meta” tags of various pornography sites. Meta tags are the lists of words placed inside web pages that define the content of that site for categorization when search engines spider or examine the site as it is placed in the search database. When strung together as I have done here they make for a furious Tourette’s like burst of sex words. Each one dances according to a script I have written and is randomly assigned a bright color – in deference to the common design language of the sites from which the words come. The cursive font used to display the words is Duchamp’s handwriting as seems only fitting for a piece that is more about the problems of fulfilled sexual union and the repetition of thought about sex.
(2003, digital work, projected/screened, running time 2min, Infinite)
This piece animates the words taken from the “meta” tags of various pornography sites. Meta tags are the lists of words placed inside web pages that define the content of that site for categorization when search engines spider or examine the site as it is placed in the search database. When strung together as I have done here they make for a furious Tourette’s like burst of sex words. Each one dances according to a script I have written and is randomly assigned a bright color – in deference to the common design language of the sites from which the words come. The cursive font used to display the words is Duchamp’s handwriting as seems only fitting for a piece that is more about the problems of fulfilled sexual union and the repetition of thought about sex.
Kaleidoscope
This kaleidoscope app was shown at vertexList and CANADA.
A digitally projected Kaleidoscope spins and folds images back onto themselves. The images have an odd familiarity; they are all randomly sampled from various internet sites across the vast expanse of the world wide web. Pornographic content, advertisements, photographs, and keyword text are all fed into the kaleidoscope and manipulated together. The effect is remarkably sedating. Though the spectator is inundated with visual information, they are unable to process the original contextual significance of any individual image. The images and text lose all semantic meaning, rendering them as purely decorative. All forms fuse into one beautiful, ever-changing ornamentation. As the kaleidoscope shifts and turns, the result is both pacifying and mildly hypnotic. This digital Kaleidoscope mirrors the daily visual experience of the contemporary American consumer. Constantly oversaturated by a profusion of digital stimuli, we become increasingly anesthetized to meaning-content. Accordingly, the overwhelming amount of information presented to the viewer through the kaleidoscope cannot be processed all at once; it blends together into one composite.
This kaleidoscope app was shown at vertexList and CANADA.
A digitally projected Kaleidoscope spins and folds images back onto themselves. The images have an odd familiarity; they are all randomly sampled from various internet sites across the vast expanse of the world wide web. Pornographic content, advertisements, photographs, and keyword text are all fed into the kaleidoscope and manipulated together. The effect is remarkably sedating. Though the spectator is inundated with visual information, they are unable to process the original contextual significance of any individual image. The images and text lose all semantic meaning, rendering them as purely decorative. All forms fuse into one beautiful, ever-changing ornamentation. As the kaleidoscope shifts and turns, the result is both pacifying and mildly hypnotic. This digital Kaleidoscope mirrors the daily visual experience of the contemporary American consumer. Constantly oversaturated by a profusion of digital stimuli, we become increasingly anesthetized to meaning-content. Accordingly, the overwhelming amount of information presented to the viewer through the kaleidoscope cannot be processed all at once; it blends together into one composite.
