COLLISIONcollective

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Boys Win Faster

Archival inkjet print of digital collage
2014
Boys Win Faster

Boys Win Faster is a digital collage that shows what appear to be two pages from an elementary school reading comprehension workbook, presented side by side. On the left is the unaltered page, and on the right is a page with identical tatters, tears, and marks as the original, but the text is a poem that appropriates, edits, and rearranges content from the original page. The poem is an interpretation of the sociocultural subtext of the content of the workbook page.

Boys Win Faster is a nod to the ubiquitous, ironic recontextualization of Dick and Jane.

Glitchometry Stripes

Inkjet print mounted on lightbox
2014
Daniel Temkin: Glitchometry Stripes

Each image begins as a series of vertical black and white stripes. They are sonified -- imported into an audio editor. Sound effects are added to individual color channels, transforming the image. Because the tool is used in an unconventional way, there is no immediate way to monitor the effect. The image manipulator has a sense of what each effect does, but no precise control over the result. These sound effects -- flanger, dynamic delay -- curve the initial lines, creating images reminiscent of Op Art artists like Bridget Riley and Victor Vasarely. It is a wrestling with the machine, -- as Curt Cloninger describes databending, “like painting with a very blunt brush that has a mind of its own.”

Dirty Pixels (Looking)

Inkjet print on archival paper
2014
Dirty Pixels (Looking)

Dirty Pixels is an ongoing series of photographs that I have taken of various public video board displays.

With close viewing these displays, which may seem to be an advanced and digitally perfect form of technology for displaying all manner of information, quite often have glitches, malfunctions and other types of distortions which are both distracting and curious to look at.

By taking these undesired effects in to account one can see take these images to a new level as these various imperfections create a new level of viewing completely different from their original message, context and intent. Upon close examination these high tech electronic creations resemble traditional moiré patterns one gets with traditional printing, the very technology these displays were designed to replace.

The images in this series were shot in Times Square, NY and Gillette Stadium, Foxboro, MA

Me on PHP

inkjet prints, foamcore
2013
Me on PHP by William Tremblay

On April 6, 2013 I was writing a Drupal module in the PHP language at work. During the course of the day I used my phone camera to take a number of self-portraits documenting my facial expression. I then used an online system to extract a point cloud and construct a 3 dimensional object from the photos. Though they were taken from dissimilar angles and under different lighting conditions, the facial recognition algorithms in 3-D software prioritized the face while wildly misinterpreting the background. This is similar to what the human mind does when recognizing faces. The difference is that while the human mind discards the irrelevant data, making it effectively invisible, 3-D software faithfully reproduces it creating mathematically well-defined objects for us to consciously observe.

Untitled_HDR

Inkjet print
2011
Untitled_HDR
Untitled_HDR installed

In this project I deal with the concept of reality as an outcome of our visual imagery created from  popular culture. The project combines video nd photography works. I am using ready-made material that undergoes a process of editing, adaptation and digitization. This kind of work is concerned with the essential place between the "frozen" photograph and the dynamic of the moving picture.

This image is part of a series, more examples of which can be found at at http://www.kerenzaltz.com/gallery-iii.html

net.2.2

digital glitch image printed with inkjet on fiber paper, 13 x 19 in, edition of 12
2010
Artwork by Kevin Benisvy

These works were made from an image of a tattered net that I took via digital capture at the Boston waterfront near Government Center. It was glitched in a text editor with specific interventions in the code made to achieve desired visual effects.


Most glitch artists recognize the glitch as something broken and beautiful within our machine creations which rises to the surface, unless by intention, generally at a time when it is unanticipated and undesired. It is clear to me that the glitch speaks to our humanity, and its reflection within our creations. It recognizes a human quality - something generally regarded as untouchable by machines. It is an error, a sign that something has gone wrong, perhaps a reflection of our own human primal urges - our gut instincts and our unconscious frustrations.


Through methodological and phenomenological approaches alike, I explore a number of themes to which glitch can speak including our limitations of understanding, which we attempt to remedy by continually devising cleverer methods of compression and consolidation of data, the challenge of gender identity, and our means of communication, trade, and expression of ownership. I use a method of "incorrect editing" of files, and alter them to my own aesthetic preferences in a celebratory act which seeks ultimately to use glitch to find a medium between the information experience and the human experience, and a more honest understanding of our machine interactions in recognition of what we put into our technology.

net.1.2

digital glitch image printed with inkjet on fiber paper, 13 x 19 in, edition of 12
2010
Artwork by Kevin Benisvy

These works were made from an image of a tattered net that I took via digital capture at the Boston waterfront near Government Center. It was glitched in a text editor with specific interventions in the code made to achieve desired visual effects.

Most glitch artists recognize the glitch as something broken and beautiful within our machine creations which rises to the surface, unless by intention, generally at a time when it is unanticipated and undesired. It is clear to me that the glitch speaks to our humanity, and its reflection within our creations. It recognizes a human quality - something generally regarded as untouchable by machines. It is an error, a sign that something has gone wrong, perhaps a reflection of our own human primal urges - our gut instincts and our unconscious frustrations.

Through methodological and phenomenological approaches alike, I explore a number of themes to which glitch can speak including our limitations of understanding, which we attempt to remedy by continually devising cleverer methods of compression and consolidation of data, the challenge of gender identity, and our means of communication, trade, and expression of ownership. I use a method of "incorrect editing" of files, and alter them to my own aesthetic preferences in a celebratory act which seeks ultimately to use glitch to find a medium between the information experience and the human experience, and a more honest understanding of our machine interactions in recognition of what we put into our technology.

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