COLLISIONcollective

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Code That Sings Itself

sound, C++
2011

 

This computer program maps its own code structure to sounds, which I recorded using the microphone built into my computer. It goes through its own code line by line and uses the characters, whitespace, punctuation, and line length to generate the music.

Rendition Engine

projected video and photos, sound, glass
2010
Artwork by [user-name]

The idea for this work grew from an unusual photograph, by Trevor Paglen, of unmarked, modern jets normally used by major airlines. It was unusual for the jets' bland appearance and the optical characteristics of the photograph itself. The jets were painted so as to not attract attention, when in fact they attracted particular attention among planespotters for being so nondescript, and also for being flown to remote "black" sites thought to be operated by the CIA. The photo was optically weird because the photographer took it from such a great distance that the atmospheric depth between he and the planes was deforming the view.
Paglen's photo led me to Extraordinary Rendition, which involves the unacknowledged, illegal kidnapping and air transport of prisoners around the world to be interrogated and often tortured so as to force the divulgence of information about terrorist activities. Much was learned about the CIA's rendition program over the last eight years through the work of planespotters in tracking rendition planes, the work of journalists and human rights advocates in gathering of testimony by former detainees, and in the work of people who connected all of the dots and unearthed the rendition program in its present form. There's really nothing extraordinary about Extraordinary Rendition anymore, even with the change in administration. Everyone knows it exists, but the facts surrounding it remain state secrets.
Rendition Engine is an interpretation of the recent history of Extraordinary Rendition. An audio speaker and video projector will be mounted to a blown glass form resembling a commercial jet engine; the glass form will serve as both a video projection surface and an acoustical amplifier.

the phenomenology of painting (Albers machine)

3 stretched and gessoed canvases, 3D animation with sound, software, video projector, speakers, computer
2010
Artwork by [user-name]

This new body of work is an extension of my previous explorations, in which I created a series of interactive installations and sculptures featuring lifelike 3D animated forms. That work investigated empathy, and the way we come to identify with the objects of our gaze, be they living or technological. In this new work, which I am calling “unspecific objects” (in both parody of, and homage to Donald Judd’s famous essay, Specific Objects), my goal is to use projected 3D animation combined with material forms to create objects that have a strong physical, almost lifelike presence. Despite their simple formal constraints, they elicit an awareness of our process of perception, and the difference between perceiving and knowing. They also expose the anthropomorphism latent in our perception of even the most minimal of objects.
the phenomenology of painting (Albers machine) specifically explores the relationship of abstract painting to spatial illusion. Throughout the last 100 years there has been much discussion of the “nature” of painting, and the relative value of acknowledging the flatness of the picture plane vs. explicitly creating the illusion of depth. This piece both pokes fun at and investigates these stances by creating the illusion of depth in three wall-mounted objects that very closely resemble Joseph Albers' paintings from the series “Homage to the Square.”

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