COLLISIONcollective

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*                        For engineers that moonlight as artists and artists that moonlight as engineers                                         *
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String Theory

Aluminum, electronics, motor
2012
Artwork by [user-name]
Artwork by [user-name]

String Theory is a kinetic-sound-sculpture that incorporates guitar strings and viewer interaction into an abstract physical form. The conceptual basis for the piece is a loose reference to string theory as the main mechanism simultaneously plucks four of the same type string of a six string guitar thus generally referring to different quantum states of particles and their respective vibrations.

The top section of the piece has a motor driven mechanism that plucks guitar strings. This will be influenced by viewer interactions through the use of a control panel. There will also be light sensors that will be connected to a micro controller, which will use the values of the light sensors to dictate the rotation of the mechanism to change the notes produced by the piece - it will switch directions and speeds based on this information. The ‘music’ that the sculpture produces will be somewhat chaotic, which can be influenced by viewer participation. When no viewer is directly influencing the sequence (by interacting with the control panel), the piece will use the previous values of other participants and randomize those values into a new sequence along with the light value readings.

Television

Video screens, electronics, wood
2010
Artwork by [user-name]

Dislocation of vision has become a prevalent attribute of observation. Webcams, live network feeds, and cameras on mobile phones make it possible to see many locations simultaneously. Maps with street view enable virtual travel.   Social networks keep friends continuously connected regardless of place. Personal vision is no longer restricted to ones immediate surroundings.  

Our two eyes have become many eyes that are able to visually travel along paths through space and time.   Our close personal affects can comfortably exist in many disparate sites. As this continues, physical location loses its importance altogether and becomes no more than a trivial afterthought. 

mesmer winter

flame-worked glass, phosphors and inert gas with electronic power supply
2010
Artwork by [user-name]

The Big Dripper

eight oscillating pumps, tubing, sink, wood, steel, UV LEDs, Arduino Pro microcontrollers, electronics, water, fluorescein dye
2011
Artwork by [user-name]

The Big Dripper is a concept based on Harold Edgerton's Piddler. Edgerton's Piddler, also known as a "Time Fountain", uses a stroboscopic light source to highlight individual drops of water in a constant stream of liquid. With the strobe off, the stream looks like a solid cylinder of falling water. With the strobe on, and correctly synchronized with the actuation of the pump, the individual drips of water that compose the stream are exposed. The drips appear to hang in space as if frozen in time. By modulating the phase relationship between the frequency of the pump and the frequency of the strobe, the device can generate optical illusions of motion. For example, the individual drops can appear to fall slowly, or even crawl upwards.

The Big Dripper was featured on Hack A Day!

http://hackaday.com/2011/03/11/water-droplet-sculpture-using-leds-and-arduino/

exciter

LEDs, paint, sand on canvas; custom electronics and software
2009
Artwork by [user-name]

Exciter excites - two small forms tickle their large friend. After long effort finally all are in sync and energy flows, only to fail, break down and start again. What is the scale of this? Where is this occurring? Why do they fail so often?
There are two related ideas at play in exciter. The first is a formal idea involving the intersection of an organic gestural form described by hand-drawn marks in paint and sand, contrasted with a more formal, geometric idealization of that form through a carefully plotted patterns of LEDs. The two representations overlay and interrupt each other. A question of precedence is implied: which came first, either in construction or conception? Is one a truer representation than the other? Is one more "real" than the other?
The other idea explores the nature of the form itself. How is this form read? The gestural representation of the form contains its own cues for reading: the specificity of the marks which guide the eye, the relation of the form to the picture plane and boundaries, the trace energy of the hand left in the materials - this is the language in which paintings are read. Overlaid on this is a programmatic reading or articulation of the form through the code which controls the LEDs. The programmed LEDs destroy any concept of a picture plane and assert a totally different kind of formal space and intention. They also have the effect, in a subtle way, of making the viewer more passive, more expectant of a 'show', a spectacle or a result. The LEDs are assertive and dominant but also dependant on the surface in which they are embedded. They claim the space of intention and meaning but can they hold it against the physical image in which they reside.
In this piece I am attempting to play with these tensions - physical vs electronic representation, active vs passive viewing, the virtual space of painting vs a 'new media' virtual space - in order to explore the boundaries in between.

Observatory

Glass, wood, metal, video screen, electronics
Artwork by [user-name]

Observatory is the thought-record of the observer, viewed from the location of perception inside of the body. From this vantage point, this observer is able to witness the act of observation, while maintaining awareness of the filters of perception. But perhaps this vantage point is not fixed, and it can experience self-awareness somewhere else, even outside of the body, or in other observers.

Mechanical Universe, Part I: The Pastoral

Oil paint on wood, aluminum (steel brackets), motors, solar panels, wire, electronics
2008
Artwork by [user-name]

Mechanical Universe originally was created for the Boston Cyberarts Festival and shown as part of the 2007 festival at TransCultural Exchange: Punzo shipped his cyber insects to the Boston, where I created their ‘living spaces’ - part irreverent homage to Donald Judd; part reverent homage to Jean Tinguely and Alexander Calder. But pure Punzo and Sherman.
Each 'box' is a collage of highly textured paint and polished aluminum.
At the push of a button, the doors open at staggered intervals, revealing a host of musical 'cyber insects,' before slamming close. The individual 'boxes' also can be re-configured to respond to the architecture of the space in which the piece is exhibited. The idea is to create an up-dated, modular version of the 17th century Italian pastoral by way of the 21st century
Special thanks to George Bossarte for electronic/programming help; and Nexus Machine Shop and Gallery for use of the shop

Time Lag

Metal, plastic, electronics
2008 - 2009
Artwork by [user-name]

I grew up in a household where classical music was taught and performed. The influence of this music had a deep impact on my creativity. My sculpture parallels music in many ways.
Like classical music, my sculptures are related to mathematics. The formal qualities of the pieces are based on geometry. Conceptually, my work is often influenced by chaos theory.
My sculptures are meditative objects. They perform hypnotic events that can be subtle or overwhelming. The sculptures challenge a viewer's sense of perception through motion and sound.
The contradiction of form and functionality is an idea often expressed in my work. It is a subversion of common machinery into art. My sculptures are critical, yet playful.
My sculptures address the perception of time. References to memory, nostalgia, and rhythmic theory are created through the combination of motion, sound, and form.

Saint Stain

Wood, foam, toys, Astroturf, electronics
2009
Artwork by [user-name]

Artificial landscape depicting the scene of death and gore that eventually contributed, according to legend, to George's sainthood. Photosensitive flowers act as motion detectors to trigger the dragon's death throes.
Saint George was born in what is now Turkey in the 3rd century AD and served in the military under the Roman emperor Diocletian. At that time -- much as today -- there was high inflation and civil unrest, and hardship fed a trend toward religious fundamentalism both among the population and the government. Diocletian was a brutal persecutor of the rising Christian movement. As a recent Christian convert, George was outspoken in his disapproval of the government's crackdown on Christians. For this he lost his head.... and gained sainthood. Many legends arose to celebrate his faith, courage and spirit of self-sacrifice, eventually inspiring the Crusades, in which those noble ideals became distorted into an bloody excuse for intolerance against Islam and a call to reclaim the Holy Land from Muslim rule. One of the legends that arose about George had him rescuing the beautiful princess Cleolinda from a dragon that was terrorizing a village somewhere in the Middle East. As reward for killing the dragon, he demanded that the population of the village convert to Christianity. I have to respect Saint George as a person. The problem I have is the way the Christian Church has used and abused his personal story for political purposes.

weightloss

Metal, electronics, lights
2009
Installation view at AXIOM

Prototype of a 2 person interactive sculpture. 2 people must provide physical and mechanical input to a sculpture. When the 2 people work together, they speed up the piece to a point where strobe lighting turns on and provides a "magic" moment.

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