Artworks Data Table

The works in this series explore the relationship between information and meaning in the context of reduced or compressed levels of information. More specifically, the works ask the question: What is the smallest amount of information needed for a specific moving image to to be rendered legible or comprehensible?

The works in this series explore the relationship between information and meaning in the context of reduced or compressed levels of information. More specifically, the works ask the question: What is the smallest amount of information needed for a specific moving image to be rendered legible or comprehensible?

The works in this series explore the relationship between information and meaning in the context of reduced or compressed levels of information. More specifically, the works ask the question: What is the smallest amount of information needed for a specific moving image to to be rendered legible or comprehensible?

The works in this series explore the relationship between information and meaning in the context of reduced or compressed levels of information. More specifically, the works ask the question: What is the smallest amount of information needed for a specific moving image to be rendered legible or comprehensible?

The “NAFTA Stock Puppets” are an Internet-driven kinetic installation that tracks the movements of global stock markets with seven larger-than-life marionette puppets. Using a real-time data stream, a network of PC laptops, and a complex electro-mechanical control system, the installation reanimates the abstract machinations of global financial markets as an absurdist carnival puppet show.

Unfortunately, the script for this puppet show remains a bit hazy. One moment, we might find the NASDAQ puppet soaring 20 feet into the air, consumed with the latest IPO elation. The next moment, without apparent reason or warning, the Nikkei puppet might fall to the ground, crumpling into a fetal posture of weakness and desperation. From the opening to the closing bell, the puppets continue to rise and fall in serendipitous synchronicity with the “arbitrary” movements of the G-7 market indices.

In front of the puppet towers you will find a “Blackjack-style” trading table, staffed by a tuxedo-clad dealer. Feeling bullish on Germany? Step up to the trading table and place your “bet” on the Germany circle. No money please, just the random ephemera you happen to have with you – keys to unknown locks, photos of ex-lovers, business cards from clients you’d rather forget, or other random ephemera you’ve collected around SIGGRAPH. If the corresponding puppet goes up, choose your prize from the pile of profit in the trading pit. If the puppet goes down, you lose your “bet” and build the pile of profit for the next day trader.

The Puppet installation is a gentle commentary on our society’s near pathological infatuation with global stock markets in this era of the “new economy.” At the same time, it is also a serious experiment to map the complex information stream of financial data onto dynamic objects in the physical world. Our intention is to re-embody this information ecology in a manner that reveals some of the character and patterning encoded in the fragments of the data stream. And during the process, we hope to also laugh a bit at the arbitrary control this data stream holds over many of our emotional lives and reckonings of self-worth.

This image reflects my doubts and fears regarding not only the threat of nuclear world destruction but also passive acceptance of a new and friendly relationship with Russia and other ex-communist countries. As a member of the baby boomer generation, I have been concerned for most of my life about the threat of total destruction. Now the slate is clean. Why would I accept such a notion quickly and respectfully when the people who created the fear also created the solution?

The child in the center is my son, Jimmy, and the older man to the right is my father. They symbolize the passing of time. I also illustrate the ongoing existence of humanity with the subtle image of a prehistoric cave drawing and the hard shape of a pocket watch, a wedding gift. I am reminded of war with images I photographed in 1969 in a Vietnamese orphanage. I still ask myself: “Is it really over?”

A human life is not generated spontaneously; our existence is a random combination of hazy vestiges of our ancestors. The idea behind this artwork is to compress half a millennium of data about people’s lives into a single computer-generated image. Visual Genealogy shows the family tree of Mr. Park (Myrang clan, hwarok party) and reveals the cognitive meanings of a complex dataset (in this case, the data are life and death).

Information visualization is an interdisciplinary field that combines topics such as computer graphics and user-interface design into a cognitively plausible way of presenting information to enhance understanding. The Korean family tree, called a Jokbo, provides a unique theme for visualization study. In addition to the usual problems of information visualization, it requires display of a large database (sometimes containing over a million records). This artwork can be seen as a successful application of techniques for intuitive understanding of large datasets.

The brightest node in this family tree, right in the center of the image, is one of Mr. Park’s ancestors who lived about 500 years ago. And Mr. Park himself is located at the very bottom of the picture. His grandfather and 20 generations of other descendants may never have read the Biblical sentence: “I will surely bless you and make your descendants as numerous as the stars in the sky and as the sand on the seashore.” But the ancestor at the root of this family tree would surely be glad to know that 27,404 sons and grandsons (stars) sharing his surname lived after him in his world.

A preliminary form of this artwork was shown in the SIGGRAPH 2007 Art Gallery. Since then, the visualization has been completely re-programmed with more data.

Summary

Understand_V.T.S is an interactive sensory substitution installation, conducting the experiment in which the possibility of the cooperation between our brain and artificial algorithms are assessed. Control the vision extension robot wanders about the surroundings for you. Eventually, your brain will manage to recognize surroundings signals.

Abstract

Understand_V.T.S is an interactive sensory substitution installation, which is carried out through the creation of new neurons in charge of tactile sensory in brains, serves as an approach to data physicalization.

Is there any other way for us to understand this world?

In this piece of work, it conducts the experiment in which the possibility of the cooperation between natural and artificial algorithms are assessed. That is, it tries out how well our brains(natural) work with AI (man-made).

The feature of neuroplasticity allows our senses to perceive the world in various ways in which we might see not with our eyes, but with skins or listen not through our ears, but through taste buds, to name but a few.

General skin vision relies on brain parsing pieces of information and shaping cognitions thereafter.

In this respect, Lai Jiun Ting introduced an object recognition system — YOLO v3 You Only Look One to it, converting the results given by YOLO 3 into Braille reading system to thigh skin, and the other side converting tactile image(pixel) to motor on users’ back directly, that’s how the installation’s system — V.T.S.HAOS (Vision to Touch Sensory Human and Artificial Operate System ) work.

Besides, with the motor stimulating the skins, the experiment mentioned above in which we aim to test the collaboration between brains and AI is thus carried out. The system run by machine learning and human brains can generate a new neural network to identify words, texts, and pixels.

The Ch’an Mind, Zen Mind series reflects my spiritual experience about Ch’an, known as Zen. It expresses my present perception and intuition toward the ultimate reality. My images form a visual communication that interacts in several collective dialogues. These dialogues are between eternity and transience, oneness and variety, existence and emptiness. As a Chinese artist living in the Western world, I am aware of art and philosophy from both cultures. Developing a personal visual language that expresses universal ideas, I create artworks for the sake of my own spirit, for color and arrangement in each image, and for making visible the concepts that gave birth to the images. I want my viewers to look at my images through magical windows into a deep, secondary space. Creating artwork requires me to realize my true nature, which gives me a new perspective on life. It has also challenged me to constantly solve visual problems, learn new techniques, and explore the splendid human heritage. Beyond various techniques and conceptions, the process of creating and making art has enchanted me. At the core of my art is an attempt to attain moments of transcendence, to reach artless-art, emptiness, self-unconsciousness, and selfforgetfulness. In other words, artistic creation is a process of expressing my true nature via “being” human.

Everything we see is changing and losing its balance moment by moment. This is where beauty exists: when one has a calm mind, when behind the endless change a background of perfect harmony is revealed. Infinity (top) reflects that in the realm of Ch’an, infinite and constant change performs against a background of perfect tranquility, which also indicates that change and evolution are the key ingredients of infinite beauty in our lives. Navigating across the sky, the birds are symbols of change. The mighty, serene mountains convey the idea of perfect harmony. Connected by many white circles and lines that originate from the ancient Chinese numeric system, the space, interchanging forms, limitless time, distance in between, and countless elements address the conception of infinity in this image.

Compared to other images in my Ch’an Mind, Zen Mind series, Purity (bottom) has less symbolic meaning, but more sensuous and emotional inspiration. The calmness and serenity of this image is rooted in memories of my own pilgrimage to Buddhist temples. My choice of a Chinese painting of the lotus, abstract brush works of sitting figures, and even the use of colors was intuitive. While creating, many of my decisions are not rational deductions; I simply try to capture what I sense and feel at that moment.

As a Chinese artist living in the western world, I am aware of art and philosophy from both cultures. I create artworks for the sake of my own spirit, for color and arrangement in each image, and for making visible the concepts that gave birth to the images. I want my viewers to look at my images through magical windows into a deep, secondary space, enriched by my spiritual experience.

My artistic images form a visual communication that interacts in several collective dialogues. These dialogues are between eternity and transience, oneness and variety, existence and emptiness. At the core of my art is an attempt to attain moments of transcendence, to reach artless-art, emptiness, self-unconsciousness, and self-forgetfulness. In other words, artistic creation is a process of expressing my true nature via “being” human.

The Jiang Jian website is the first visual presentation of a growing project that touches on multiple fields of studies such as history, women’s movement, storytelling, information design, visual narrative, interaction design, and web development. This project unveils the forgotten story of an extraordinary woman Jiang Jian (蒋鉴)—the “Chinese Nightingale,” “Mother of Wounded Warriors,” and “Mother of Refugee Children”—who passed away at age 38 during the Second Sino-Japanese War (1937-1945). Through her evocative story, the project sheds light upon the Mothers’ Movement in China, a major achievement of the Chinese Women’s Movement in the first half of the 20^th century.

Ms. Jiang was from an affluent family. Instead of living a comfortable life, she became a nurse, educator, activist, and philanthropist during the war. She volunteered to serve the wounded warriors in military hospitals and established a refugee school for children. In addition to actively engaging in community development and charity programs, she set up a local Women’s Association. After years of assiduous work, she dedicated her life entirely for the wounded warriors and refugee children in wartime. Meanwhile, from 1938 to 1946, 30,000 refugee children were saved and educated in over 60 Relief Schools throughout China, Hong Kong, and Southeast Asia organized by the Chinese Wartime Refugee Children’s Relief and Education Association (中国战时儿童保育会) supported mainly by donations.  After WWII, unfortunately, the Chinese Mothers’ Movement has been overlooked and their voices attenuated due to the Chinese Civil War followed by decades of political turmoil and unrest. As of today, no studies in English are hitherto available. This project was initiated to share the story of Jiang Jian—a heroine of the Chinese Mothers’ Movement, which would deepen our understanding of common human experiences and stimulate social change for generations to come.

Maverick writer Charlotte Perkins Gilman once wrote that “life is a verb, not a noun.” It is a sentiment echoed in this interactive audio sculptural book. Life takes action, mindfulness, and intention. All these come from within. At a time when the notion of life is located in an uncertain and ever-changing environment, while we are occupied by everyday trivia and surrounded by a fast speed society, wouldn’t the wisdom of the ages bring us inner peace and wonder, and nurture our internal lives?

Inspired by Passage Meditation (the method of meditating on a text passage) and painter René Magritte, this project merges a book (the symbolic form of knowledge) with a tissue box (a daily mundane object). This hybrid book creates a new meaning and function: to inspire and deliver wisdom words for daily life. Combining digital and analog techniques, this project transforms a traditional printed book into an interactive audio sculptural book, which meets the exhibition theme “Altered Books: Digital Interventions”.

More than 200 proverbs collected from history were recorded by four voice artists, from Socrates to Einstein, from Lao-tzu to Eleanor Roosevelt, from Dalai Lama to Emily Dickinson. When a page is pulled away from the book, the motion sensor inside the book actives an MP3 player, which releases the audio proverbs for 20 seconds. On the pages are printed witty proverbs for gallery display. A LED placed on the book front cover indicates the on or off state of the MP3 player installed inside the book (when the player is on, the LED light is on).

“Living Mandala” is an exploration into uncharted territories of the human soul sculpted by our present time. This interactive revolving graphical system visualizes our perceptions of life (microcosm) and the universe (macrocosm), our connections to ancient mythology, -cosmology, and cultural heritage, and the relationships among humankind, science, technology, and nature in a globalized society. Merging rich historical, cultural, and scientific imagery and symbols with real-time data and sound, this living organism alters every moment responding to the movement, light, sound, and temperature of its surroundings. Built with Processing, an open source programming language and environment including real time data and scientific imagery, this project consists of three layers with complex graphics and symbols: 36 ancient mandalas and cosmological circular imagery collected from 16 cultures, 15 graphics representing human studies and perceptions of the world and the universe, and nine nature icons.

Everything we see is changing and losing its balance moment by moment. This is where beauty exists: when one has a calm mind, when behind the endless change a background of perfect harmony is revealed. Infinity (top) reflects that in the realm of Ch’an, infinite and constant change performs against a background of perfect tranquility, which also indicates that change and evolution are the key ingredients of infinite beauty in our lives. Navigating across the sky, the birds are symbols of change. The mighty, serene mountains convey the idea of perfect harmony. Connected by many white circles and lines that originate from the ancient Chinese numeric system, the space, interchanging forms, limitless time, distance in between, and countless elements address the conception of infinity in this image.

Compared to other images in my Ch’an Mind, Zen Mind series, Purity (bottom) has less symbolic meaning, but more sensuous and emotional inspiration. The calmness and serenity of this image is rooted in memories of my own pilgrimage to Buddhist temples. My choice of a Chinese painting of the lotus, abstract brush works of sitting figures, and even the use of colors was intuitive. While creating, many of my decisions are not rational deductions; I simply try to capture what I sense and feel at that moment.

As a Chinese artist living in the western world, I am aware of art and philosophy from both cultures. I create artworks for the sake of my own spirit, for color and arrangement in each image, and for making visible the concepts that gave birth to the images. I want my viewers to look at my images through magical windows into a deep, secondary space, enriched by my spiritual experience.

My artistic images form a visual communication that interacts in several collective dialogues. These dialogues are between eternity and transience, oneness and variety, existence and emptiness. At the core of my art is an attempt to attain moments of transcendence, to reach artless-art, emptiness, self-unconsciousness, and self-forgetfulness. In other words, artistic creation is a process of expressing my true nature via “being” human.

Through the Aleph is a net art project offering an unprecedented visual and interactive experience where many places on Earth and in space can be seen simultaneously in an instant. It visualizes the diversity of human civilizations (microcosm) and the unity of humanity without borders in the ever-changing universe (macrocosm); it draws the connections between individuals and the global environment, Earth and outer space, eternity and time, and art and science. With an unexpected approach to surveillance cameras and global networks this meditative web project uses live data to create an abstract landscape in an open source environment. It not only embraces the dream of peace on Earth but also explores the bond between humankind and nature through time and space in the present moment.

*The project title was inspired by two great literary works—”The Aleph” and “Through the Looking-Glass.” Perhaps the computer screen is our modern day looking-glass, and we are all Alice as we peer through our screens at an alternate reality.

Light Strings is an interactive immersive installation that consists of thousands of fiber optics and a computer mediated virtual agents system that responds to the participant’s movement (Ambient, Exploration, Play, Meditation modes). The fiber optic environment creates a floating 3D light surface that emits interactive lights. Participants and multimedia agents co-exist and meet in Light Strings through touching and using their whole bodies. Full freedom of physical body movement, creating relations to the physical installation and a virtual world is a critical condition of Light Strings.

Since women shed long dresses and other constraints, women’s legs have become symbols of female sexual strength, a weapon against male dominance; thus, S>HE<R is about feminine power, as well as gender ambiguity, voyeurism, narcissistic conciliation and psychological and socio-cultural identification, which demands answers to questions about roles and identities of gender in the patriarchal culture and in societies across the globe.

I strive to achieve a sense of classic elegance in my digital work. My dramatic, monochrome, high-contrast images focus on still life. I concentrate on familiar themes, and much of my subject matter can be found in my home. I feel that by limiting my work to black and white, I can present an image with added impact, precision, and clarity.

I strive to achieve a sense of classic elegance in my digital work. My dramatic, monochrome, high-contrast images focus on still life. I concentrate on familiar themes, and much of my subject matter can be found in my home. I feel that by limiting my work to black and white, I can present an image with added impact, precision, and clarity.

In my early work, I created a sense of presence of invisible forces in nature. For me, these forces in nature are metaphors for the interpersonal dynamics between people. I created algorithmic images, using mathematical descriptions of phenomena such as light reflecting off of irregular surfaces, that embodied these dynamic forces. In these drawings, environmental phenomena that we sense, like the wind, were visualized and given a physical presence. Algorithmic patterns were also created on fabric using heat-transfer xerography. This mapping of environmental behaviors onto cloth propelled this algorithmic representation back into the natural world.

The fluid images in my tapestries reflect a sensitive integration of visual and cognitive ideas. The vibrating kinetics of these patterning systems are created by the dynamically interacting layers of visual images. These layers of images are representations of the manner in which we view the natural world. In reality there are many layers of information/images which are imperceptible due to the limits of our visual faculties. These invisible layers of natural phenomena are abstracted into mathematical formulas by scientists. I have created a conceptual “lens” with which I am visualizing these phenomena, and weaving the visual layers into amorphous networks. The seemingly porous color transitions in one of these layers absorbs portions of other layers to create a translucent atmosphere and a natural ambiguity. As these tapestries respond to air currents in the natural environment, the flowing patterns derived from nature are projected back into the natural world.

This interactive installation brings the architecture of the human body into the virtual ecology. My objective is to re-materialize the digitized experience by creating a community ritual. Participants are given large gold pins and asked to pin a personal item onto cloth that is caught in the rusty barbed wire in an old fence. As viewers approach the cloth, they step on a path in front of the fence that triggers computer movies. This is a look inside at the hand struggling with the net through digital processing. Images are triggered on one of three monitors as the viewer moves along the path. The monitors are in black cages, so the viewer cannot touch the images – the can’t touch, don’t touch of cyberspace. The cloth becomes laden with treasures as participants share the ritual of depositing personal items on the cloth.

In the Theatre of Re_Sources you are welcome to enter and explore the main stage and the backstage.

#Backstage
A landscape of scores or a “scorescape” for the performance piece Edit Distances, written in web programming languages, such as JavaScript, inter-weaved with choreographic thought and imagination.

#Main Stage
Where you will find a recording of“Edit the distances” a live coding piece enacted in a special webstage: @maps/space/ moon/.. The web browser serves as MainStage for a series of a actions written in Javascript and triggered by the performer and coder Joana Chicau.

In computation linguistics “Edit distance” is a string metric operation, the edit distance between two words is “the minimum number of single-character edits (insertions, deletions or substitutions) required to change one word into the other.” [more information at: en.wikipedia.org/wiki/Edit_distance]. This piece explores the distance between words and its meaning, the space and the text, objects and functions, language, technique and imagination … [see full score: on the backstage].

This piece is part of an on going research project which investigates notations systems from various somatic practices, and explores the different {performative} outcomes cross media and how conditions change through affective interfac(ing) of bodies and technologies. Read more: https://jobcb.github.io.

SKORPIONS are a collection of kinetic electronic garments that use the shape-memory alloy Nitinol to move and change on the body in slow, organic motions. They have anthropomorphic qualities and can be imagined as parasites that inhabit the skin of the host. They breathe and pulse, controlled by their own internal programming. They are living behavioral kinetic sculptures that exploit characteristics such as control, anticipation, and unpredictability.

SKORPIONS integrate electronic fabrics, soft electronic circuits, specially designed circuit boards, Nitinol, mechanical actuators such as magnets, and traditional textile construction technique. The cut of the pattern, the seams, and other construction details become an important component of engineering design. SKORPIONS are not interactive: their programming does not respond to sensor data. SKORPIONS shift and modulate personal and social space by imposing physical constraints on the body. They alter behavior, by hiding or revealing hidden layers, inviting others inside the protective shells of fabric, by erecting breathable walls, or tearing themselves open to divulge hidden secrets.

Active materials (physical materials that have the ability to change over time and be controlled electronically) introduce many exciting opportunities for art and design, but also present many new chal­lenges. These challenges are not only conceptual (how to imagine animated, interactive artifacts that have unexpected reactions or be­haviors), but also political, ethical, social, environmental, and cultural.

At the same time, with contemporary advances in potential memory capacity, we need to ask what are the design and creative capacities of memory rich materials and forms. What models of memory and mind are used in designing technologies that remember? How does our current generation of electronic textile and wearable computing technologies allow us to build memories? And, most importantly, how do we include the need, capacity, and desire to forget?

At XS Labs, we develop electronic textiles that are extra soft and react in unusual ways to our bodies and our environments. We are particularly interested in the development of non-emissive, textile-­based display technologies. We develop textile substrates that integrate conductive yarns, control electronics, and various active materials such as thermochromic inks or the shape-memory alloy Nitinol in order to build non-emissive, multi-pixel, fully addressable textile displays. These displays are created using traditional textile manufacturing techniques: spinning conductive yarns, weaving, embroidering, sewing, and printing with inks.

A video that refers to the symbolism of ten numbers. Numbers themselves are an abstract concept, however they have hidden symbolic content when they relate to something particular. Long before the appearance of writing, a gesture symbol was used as an expression of communication. In order to explain a concept – symbolic thinking was applied. In order to explain different phenomena, activities or objects, each social group decided on a set of signs understandable for them, consequently there are numerous culturally differentiated areas all over the world. Achieving this visual effect was possible by designing an algorithm which later was automated by computer.

Wait for me, this’ll only take a minute ….

Before pursuing visual arts, I trained as a dancer. I found I was drawn to body adornment because there seemed to be a seamless transition between positioning the body to achieve beauty and creation of an external element that supplements human form. This engagement with the body breathes life into an object, elevating it into an extension of a living being. I create forms I find beautiful and combine them in accordance with my aesthetic, which is inseparably connected to my experiences, generation, and environment. I take into consideration that my work is intended to be worn, and the size and shape of the human form dictates scale and functionality.
Mathematical organization derived from natural forms has always inspired me. I began working with computer-aided design and 3D printing to create my work. I found that CAD allowed me to create organic but precise forms. After my work is modeled on a computer it is produced by a machine that prints in 3D or builds the pieces layer by layer, an additive process that has always reminded me of the growth of tree rings. Recently, I have been looking at natural elements such as shells, spider webs, and whirlpools, and combining them into a hybrid form.
In my work, I discuss the idea of using current technologies and evolving materials to create forms inspired by natural forms that have existed for centuries. I explore similarities I see among nature, the body, and technology: function, mechanics, adaptation, beauty.

In my work, I push the boundaries of various media. I explore archi­tectural spaces as well as digital spaces, making projects that are both site-specific and unexpected. My work juxtaposes images of old and new cities, reflecting a sense of nostalgia for the past con­trasted with wonder about the future. The works mirror the experi­ence of navigating a charged metropolitan area.

A walk through the city becomes a vehicle for a meditation on space, time, and human interaction. I am interested in the patterns, struc­ture, and design of the urban environment. Rather than document the cities I see, I employ media-generated representations of con­temporary and historic cities as raw material for aesthetic and social explorations. Using these appropriated images and texts, I make individual photo collages, multi-media installations, public artworks, artist’s books, and net art projects.

“The Unemployed” is an interactive installation that visualizes world-wide unemployment. Using data culled from online sources that list unemployment rates by country, “The Unemployed” represents the jobless as animated figures who inhabit a generic cityscape. The number of monthly unemployed varies from country to country ranging from a few thousand in sparsely populated places to many millions in places like the United States, India, and China. The software randomly cycles through approximately 200 countries, drawing the number of unemployed as aimless wanderers. If the country has a large number of unemployed, there are enough figures to fill and move with numerous silhouettes. If the country has minimal unemployment the silhouette is only partially filled.

“Visual Chaos” is a short Web work that explores the idea of chaos on the Web. In “Visual Chaos” I created a number of moving windows, as well as windows that appeared in specific places on the screen. I wanted there to be a screen filled with little windows, all doing their own thing. I also used a clickable list to create a poem. Each word is a link that opens a new window. You can read the poem a number of ways. Contained within “Visual Chaos” are a number of flash movies that use historical images of Los Angeles as source material, adding current images and texts as animations to explore the relationship between the past and the present, as well as the ancient, the modern, and the future city.

“Visual Chaos” uses the space of the Web as a sculptural space, allowing viewers to interact with animated graphics to delve deeper and deeper into an imaginary city. The images are culled from various print media sources. The texts are either found passages from urban theory or specifically written poetic musings on the city. The site explores ideas relating to an abstracted idea of the city. The images depict shadows and bodies. It explores the ideas of being swallowed by the city. In “Visual Chaos” I explore grids as a metaphor for the many different paths one can journey down in the modern metropolis. One of the things I am interested in is to counter the use of the Web solely as a source of information.

Joe Nalven composites images that seek to draw out the extraordinary in form, color, theme, or composition. He traps and forms realities in a variety of styles: representational, conceptual, traditional, modern, surreal, abstract, impressionistic, or whatever category a viewer might imagine. He looks beyond ideologies that claim that one way of visualizing reality is better than any other way.

Ultimately, each image stands on its own. So, too, digital images stand alongside images derived with more traditional technologies. With both the older and newer technologies, the artist’s image-making leaps forth. Did the artist succeed? Look at the image, experience the image. Ignore the artist’s name, the medium, and whether the “original” is on a single piece of canvas or on a hard drive.

For Nalven, the dialogue should focus on the question: Does the image work? Then, if you are still interested, ask those other questions to get at the craft and the commercial value of the image. But recognize these as separate inquiries.

Migration has always been part of the human condition. With the advent of written language, we could be identified: identity cards or passports. The next step to evolving a transnational identity, while acknowledging the need for public recognition of the individual as opposed to anonymity, may be a world identity card. These exemplars are drawn from my ethnographic research, photographic explorations, and mixed-media experimentation, and then recomposited as a digital composition. One might assume that the human condition presents a consistent framework for understanding one another. Yet, at the same time, we recognize the influence of different cultures, family and peers, social class, access to media, and a host of particularities. Into this mix of the common and the particular comes the artist with a question: how to make sense of this “blooming, buzzing confusion.” I seek to extract the quirkiness of this human condition. At the photographic level, I am mindful that there are millions of pictures snapped every day, so what makes one particular picture different beyond the fact of my taking it? Digital photography permits realtime monitoring of the flow of events, people, and things – an opportunity to capture the moment more readily with the dialogue between photographer and captured images, an ability to edit within the camera and, time and opportunity permitting, to retake the picture. There is much quirkiness to capture, even as a photorealistic image. Then there is the second adventure of many digital artists, who are perfecting their style of commenting on those seemingly “real” photographs and transforming them into a “more real” sense of what the artist saw in that moment. This two-fold adventure (and at times a three-fold adventure, when the artist adds new substrates) is my pathway into image intensification. The end goal of this intensification is to portray the ineffable. One might liken this seeking to the “that thou art” (the Ultimate Reality in Hindu tradition). The image speaks for itself and for me. The translation into text is but a shadow of that vision.

So look, see, and enjoy.

In Collapse:Focus, Reinsel uses accessible tools to translate ideas to the audience. Using a video phone and self-made software, he gathers samples from his immediate surroundings as source material for the creation of the work. Combining original media, including video and sound, he gives form and substance to his vision. Transcending emotion and reality, his work questions the linkages of interpersonal relationships through allegory and real-time samplings of the environment. He sees this material as “raw bits” and uses them to form new systems and patterns from things that may be recognizable to the audience but in no way represent the item that they remember.

Medallions is comprised of a series of 3D-printed wall plaques featuring algorithmic ornate medallions. Each medallion was generated procedurally with the Processing language. This project is an attempt at translation from traditional ornamentation to modern algorithmic fabrication by using a combination of the procedural approach of Computer Generated Imagery (CGI) and the rapidly expanding field of 3D printing technology.

A collection of sequences created using probability theory and two-dimensional metaballs. For the purpose of controlling the elements (motions, colors, sizes, and speeds) behavior patterns were defined using Markov chain, and random numbers were applied to thousands of individual metaballs.

WATERDROPS is an abstract animation on the theme of formless water. All scenes were generated using original software. 20 metaball was used as the main algorithm, and random numbers were applied to each metaball .

A site specific experiment in social interactions: disruption, innovation, evolution, subversion.

C5= [disruption/information analysis (strategy 2E)]
if…(coordinated entanglement) mesh, Mt+;

C5 performs, or rather acts out, through choreographed demonstrations involving radio-controlled surveillance probes – a means to infiltrate, disrupt, view, map, and record human interactions. An extensive Web site supports remote audience interaction, event analysis, live telepresence, and an exhaustive public relations campaign mirroring the dynamics of corporate culture. For C5, strategy and theory are information products, surveillance technology is a marketing vehicle, and the shaping of corporate identity is art.

Members of the C5 team engineer miniature radio-controlled surveillance probes for collection of wireless transmitted audio/video and data involving SIGGRAPH 98 programs, events, people, architectural spaces, and social environments. The C5 demonstration team performs choreographed information stunts, infiltrations, and site/event specific surveillance maneuvers throughout the conference.

C5 is an “information product.” The C5 Web site is devoted exclusively to establishing C5‘s corporate identity through constructed cyborgian personas of team members and presents live demonstrations, event documentations and analysis. Interaction over the Web site offers remote viewers an opportunity to interact directly with the members of C5, suggest specific activities, acquire information about C5 products and services, and download artifacts.

Aeolian Traces is an immersive installation that utilizes a hybridization of data harvesting, physical installation, algorithmic composition and spatial sound. Presented through a combination of a multi-channel sound diffusion system and an 8-channel ventilator (DC motor fan) setup, the piece creates wind currents in a gallery space triggered by human migration data. A screen displays the project’s informational content, visualizing migration data as suspensions of nodes in three dimensional space, and displays connections between each node as they come into close proximity with each other.

To establish an ephemeral sense of movement around and about the visitor, the ventilators are synced with sounds of wind, where visitors to the space are able to simultaneously feel and listen to them. On the screen, each node represents a percentage of the migrant population from a particular country, geo-located and set in motion towards their documented destinations. Sound, image and wind are profoundly connected- the directionality of migration mapped to the movement of all three elements within the Ambisonic sphere. Spoken narratives in native languages are also introduced in the piece as whispers that reveal themselves as they passage from one location to another.

samplingplong features a projected mouse cursor interacting in physical space, generating miniature sound compositions with pleasurable arrangements from the everyday soundtrack of the digital age.

samplingplong is an interface consisting of physical objects-electronic junk, plastic toys, compressed air valves, pneumatically operated components, coiling cables and wires-arranged on a tablecloth. These objects are turned into interactive instruments via a computer-controlled device. An improvised ensemble evolves, eliciting by means of mouse-over and mouse-dick short miniature compositions of dense rhythmic clicks, hisses, whirs, hums, and crackles. The result is a tapestry of sound bursting forth from the floral-like web of cables and tubes. The installation can be experienced by rolling the projected mouse-cursor over the improvised instruments, causing small sound events which allow the user to play spontaneous improvisations. Clicking these objects starts short programs of loop-like compositions-small “techno-compositions en miniature,” rhythmic patterns of analog (or real) sounds, physical low-tech simulations of electronic, digital music. All represent an ironic comment on interactivity.

My video shows a young woman boxing toward the camera and a man and woman speaking. They are both saying the same thing, but in different languages: “The wind doesn’t change, bit by bit I learned, the wind doesn’t change.” Gradually, the black-and-white image acquires colored spots, evidence of an invisible fight. A poetic fight. I combined modern technical effects with an old-fashioned monochrome film style to create a particular mood. This manipulation of colors and style challenges the viewer’s perception.

Summary

Point Nemo | Sea [Sic] draws inspiration from Théodore Géricault’s painting, “The Raft of Medusa” (1818-19). Situated at a sublime intersect of sea and sky, this work represents a meditation on human desire — the poetics that drive human exploration and the urgencies that underly human migration.

Abstract

My aims as an artist tend to cluster around several core categories, none of which are either self-contained or mutually exclusive. These cores may be thought of as hypotheses rather than as theories, for my overriding view of existence relates to its flux (the constancy of change) and mystery (the essential unknowable.)

One core concerns a desire to produce works which cannot be read at a single level or in a single encounter. There should be a richness and complexity which invites and/or urges the viewer to absorb the work through the senses and let it react over time with the full range of our dimensions as human beings to process experience.

Another core concerns the desire to make the process of making the images both an integral and organic union with the piece being made. There should be an inevitability about this union which goes beyond issues like ego, fashion, habit; the extraneous. My own preference at this point is to go in and preconceiving conventional stereotypes concerning them.

A third core concerns both the poignancy and the multiple readings that can be obtained within images of identifiable objects. Whether present as a result of a more surface oriented “cultural memory” or a more deeply rooted human one, the results of recognizable “as an object” and “as an object within a specific context”, opens up virtually limitless opportunity for purposeful exchange.

A fourth core concerns the potential for direct communication utilizing non-objective an/or abstract forms. In this sense communication goes beyond the transfer of specific information to include dispositions towards modes of organizing (a broader concept than traditional formalism) as well as the psychological import of associative forms.

I’ve always treated the content of my photographs and digital images as found objects. Photographic film’s ability to record objects with high definition and fidelity has always attracted me. With the camera, I come across a natural scene and record it with great clarity. It is, in essence, a found object or objects, if you will. With digital imaging, I have the ability to bring into the computer pieces of old artworks (history) and collected objects (touchstones), which I can then layer and collage to create new works of art with the same clarity and fidelity as my photographs. One could say it gives me the ability to appropriate or sample myself.

Final Wisdom I is an interactive installation where participants shape their experience with a work of visual and sonic poetry by means of gesture, touch, and proximity. The work is engaged through an interactive software framework that provides an interface to the physical world through objects reacting to touch, sound, and pressure, presenting viewers with a shifting environment of media as they navigate and shape their experience with a work of spatialized poetry. Final Wisdom I is the work of artists Hans Breder and John Fillwalk, with poetry by Donald Kuspit, music by Carlos Cuellar Brown, and programmer Jesse Allison.

As an intermedia artist, John Fillwalk actively investigates emerging technologies that inform his work in a variety of media, including video installation, virtual art, and interactive forms. His perspective is rooted in the traditions of painting, cinematography, and sculpture, with a particular interest in spatialized works that can immerse and engage a viewer within an experience. Fillwalk positions his work to act as both a threshold and mediator between tangible and implied space, creating a conduit for the transformative extension of experience, and to pursue the realization of forms, sounds and images that afford interaction at its most fundamental level. In working with technology, he values the synergy of collaboration and regularly works with other artists and scientists on projects that could not be realized otherwise. Electronic media extend the range of traditional processes by establishing a palette of time, motion, interactivity, and extensions of presence. The ephemeral qualities of electronic and intermedia works, by their very nature, are inherently transformative, and the significance of the tangible becomes fleeting, shifting emphasis away from the object and toward the experience.

These works are from a series of digital prints entitled “Intercere.” I have developed this series entirely in a digital environment from origin to output. They are created using painting, imaging, and proofing software and a graphics tablet. For output, I work in a calibrated Giclee printing process, utilizing archival inks and papers.

Conceptually, I position the work to act as a threshold between physical and implied space, dealing with notions of the potential transformative nature of the image. Approachable, accommodating space becomes increasingly more interior and condensed. Providing the viewer opportunities for re-orientation in the experience of the work has other implications as they activate, discover, and uncover subtleties of the experience.

I find that the ephemeral nature of electronic art can transcend the traditional modes and expectations of art making. The importance of the tangible object becomes more fleeting, placing emphasis on the experience.

Digital work not only extends the range of the traditional fine arts, but also establishes a new palette of time, interaction, and virtuality. The electronic arts by their very nature are inherently dynamic and transformative, creating a context for collaboration and inter-connectivity, not just of technologies, but of traditional studio areas themselves.

These works are from a series of digital prints entitled “Intercere.” I have developed this series entirely in a digital environment from origin to output. They are created using painting, imaging, and proofing software and a graphics tablet. For output, I work in a calibrated Giclee printing process, utilizing archival inks and papers.

Conceptually, I position the work to act as a threshold between physical and implied space, dealing with notions of the potential transformative nature of the image. Approachable, accommodating space becomes increasingly more interior and condensed. Providing the viewer opportunities for re-orientation in the experience of the work has other implications as they activate, discover, and uncover subtleties of the experience.

I find that the ephemeral nature of electronic art can transcend the traditional modes and expectations of art making. The importance of the tangible object becomes more fleeting, placing emphasis on the experience.

Digital work not only extends the range of the traditional fine arts, but also establishes a new palette of time, interaction, and virtuality. The electronic arts by their very nature are inherently dynamic and transformative, creating a context for collaboration and inter-connectivity, not just of technologies, but of traditional studio areas themselves.

Plains Study I and Plains Study II are from a series of digital prints on canvas dealing with the superimposition of the constructed environment on the landscape. These prints are created using digital imaging, painting, and proofing software. For output, I work in a calibrated fine-art, large-format printing environment, utilizing archival pigment-based inks and specially coated fine-art canvas.

As an intermedia artist, I approach exploration of new forms from a position grounded in experimentation among media, disciplines, and processes. I investigate and evaluate emerging technologies that inform my approach to working in a variety of media, including video installation, single-channel video, sound art, 30 animation, video sculpture, digital imaging, interactive, and net-based work. In developing new concepts and forms, I draw on intersections between Eastern philosophies and Western science, and juxtapositions between built and natural constructs.

Conceptually, I position my work to act as a mediator between physical and implied space, charging the transformative nature of a composition. Expansive, accommodating space becomes increasingly interior and condensed, providing an environment for reorientation within a work. I am particularly interested in realizing the potential of form and image that affords interaction at its most fundamental level. As an intermedia artist, I have also come to value the synergy of collaboration and have worked closely with composers, scientists, architects, and engineers on a variety of large-scale projects.

New media extend the range of the traditional studio by establishing a palette of time, motion, interactivity, and virtuality. I find that the ephemeral nature of electronic and intermedia work transcends the traditional modes and expectations of art. The significance of the tangible becomes fleeting, shifting emphasis from the object to the experience. Electronic and time-based works, by their very nature, are inherently transformative, creating a shifting context between what is known and what has yet to be explored.

John Gerrard’s varied works investigate the emotional possibilities of digital technologies. He creates pieces that question our identities, our relationships with each other, and how we interact with our physical environment. His sculptures and images frequently focus on the new temporal and experiential possibilities of real-time 30, gaming engines, and photo-type virtual objects that he characterizes as sculptural photographs. These works hinge on a number of key possibilities. Foremost among these are the new temporal and experiential parameters surrounding self-generating artworks containing virtual objects to which instructions in the form of code can be sent. The artist is interested in the possibility that these pieces need never end nor ever be the same. This interest in new temporal possibilities surfaces in works such as Saddening Portrait (Florian), in which a young man saddens in real time as he completes an action in 100 years time. This piece specifically sets out to exist outside of the parameters of most of our life spans. In removing the ability of the audience to possess the work completely, the artist attempts to create an echo of a tragic loss in his own life. Watchful Portrait (Caroline), the work presented at SIGGRAPH 2005, exists as a benign digital sentry that tracks the position of the sun at all times. In this relationship to the sun, which is the source of energy for our existence, the piece attempts to contextualise the human presence on earth in a broad manner: we are but a tiny part of the universal picture, both physically and in time .

In Convolution by Wild System, a robot and humans communicate using neural networks to co-create an evolving responsive immersive virtual environment. A child-sized robot sits immersed in a full-room projection of an evolving audiovisual virtual environment. The robot ‘talks’ to the virtual environment, telling its impressions and what it would like to see and hear. People come and go, talking with the robot about the virtual environment, and showing it pictures on their phones. The robot learns these impressions and talks of them to the virtual environment, which evolves in response.

Eve of Dust is a collaborative performance and installation between a human and a robot. The artwork draws on both the possibilities and anxieties arising from the collaboration between humans and emerging intelligent systems personified in the robot. The human and robot collaborate to co-create an ever changing artwork.

Stroke survivors directly link stroke education with their ability to access appropriate treatments and reduce their risk of future strokes. However, with such a diverse population a universal mode of delivering education must be sought. This work places the artist at the heart of educating patients and carers about their disease by developing a technical process of delivering 3D computed tomography (CT) patient stroke data on the Virtual Reality (VR) platform. VR has already been proven as an efficacious rehabilitation tool for this population but its use in education has not yet been established. This work is being piloted in a new collaboration between the Art & Design Faculty at the University of New South Wales, Australia and the Stroke Rehabilitation Service at St Vincent’s Hospital in Sydney. Importantly, this paper places the artist’s at the centre of the process – from developing the concept, to prototyping and creating the final visual aesthetic.

Elliot Mishler cautions against the ‘unremarkable interview’ and the ‘voice of medicine’ that so oftenprevail in the consultation room. The purpose of this collaborative work is to allow stroke patients to see their own visualised clinical data, with the guidance of the clinical professional, on a HD screen and immersive VR platforms. It reunites the patient with their personal recovery story.

This complements what Foucault terms the ‘medical gaze’ where medical imaging separates our body from the individual. Contemporary medical imaging modalities such as CT and Magnetic Resonance Imaging (MRI) allow greater reductive understanding but sever the link to the person. The intention of this work is to generate arts-led 3D computer visualisations from CT and MRI data. The aim of project is to reconnect this of body and mind through alternative aesthetic.

These images explore my own interest in beauty, structure, and harmony within the human vascular system, in particular the flow of blood through the human kidney. Medical technologies such as magnetic resonance imaging (MRI) allow clinicians to see ever deeper into our body spaces for the purpose of diagnosis. However, interpretation is restricted to the eye of the trained specialist in a clinical or scientific environment. In this work, 3D computer visualisation techniques were used to create a hybrid image that bridges scientific medical data and artistic imaginative vision to create a new aesthetic. These images were created as part of an ongoing collaboration with the Department of Clinical Radiology at Ninewells Hospital, Dundee, Scotland. My artwork has focused on the visualisation of the human vascular system and methods of emotion-based interpretation of MRI scan data. The reasoning behind these particular images was to expose and communicate the fragility of the human kidney. The intention was to suggest an internal jewel-like quality to anatomy, highlighting an inner space otherwise hidden from the human eye. My goal was to produce an image with a degree of sensibility in an attempt to bring the patient closer to the nature and beauty of inner human structure, and also as a means of penetrating the complexity of arterial disease.

Our beloved leader George Bush reveals his true self and continues to give forth words of wisdom claiming to have seen Elvis. 3D animation combined with 2D PhotoShop work. Continuous loop with varying audio.

“Early Light” is part two of a three part series dealing with times of day and the seasons. The idea is to create a living manuscript of the impressions and memories of different seasons and how they unfold. Set in the morning hours, the work progresses from the end of winter through spring. The work is inspired by experiences of landscape as sensed internally and spiritually. These are interpretations of nature as emerging from consciousness and shifting in character. The source scenes are constructed from multiple photographs and video footage. The stills are animated through mattes of generated light, wind, and noise.

Part of an ongoing exploration of creating “sacred sites,” featuring portals of various types that use textures and colors to focus the space or hint at further locations.

Nocturn is a series of memories of night places. These scenes, from a larger work in progress, are idealized versions of remembered events. The images are from travels in Thailand, Moorea, and Europe.

The animation composites are derived mostly from still images, manipulated in Photoshop, and animated with After Effects. The work grows organically, each scene based on the previous image.

The work is a theory of the world (not to imply a complete one). Its purpose is to rejoice in a sense of wonder and mystery, to see beyond the seen into the suspected, to hint of the mystery felt during the journey. Some experiences want altars, others visions, yet others remembrances. These are representative of stages of a story comprised of episodic events, peak moments, and places of discovery.

These images are my attempt at visualizing and clarifying a sense of dis­covery. By discovery, I mean finding something beyond what was known or expected. I feel this discovery at places that seem to suggest a story – a story I don’t really know. In these images, I am not trying to express an actual story but rather to visualize some of the various states that may be experienced on a “journey.” Doorways, paths, altars, and windows are the central elements within the context of a “site,” which is the spark.

The work is derived from a photograph of a site. I try to create a visually compelling environment where there are multiple places to go. I try to clarify what the image may suggest by amplifying or reducing values and textures. Then I work outward from the focal point, and either collage in associated pieces of drawings or photographs, or odd compositional motion with blur and distortion filters. Finally, lighting or tonal effects ore added to the entire piece to further delineate the forms or to homogenize disparate elements. The sources are all my own photographs or drawings.

The work is a theory of the world (not to imply a complete one). Its purpose is to rejoice in a sense of wonder and mystery, to see beyond the seen into the suspected, to hint of the mystery felt during the journey. Some experiences want altars, others visions, yet others remembrances. These are representative of stages of a story comprised of episodic events, peak moments, and places of discovery.

These images are my attempt at visualizing and clarifying a sense of dis­covery. By discovery, I mean finding something beyond what was known or expected. I feel this discovery at places that seem to suggest a story – a story I don’t really know. In these images, I am not trying to express an actual story but rather to visualize some of the various states that may be experienced on a “journey.” Doorways, paths, altars, and windows are the central elements within the context of a “site,” which is the spark.

The work is derived from a photograph of a site. I try to create a visually compelling environment where there are multiple places to go. I try to clarify what the image may suggest by amplifying or reducing values and textures. Then I work outward from the focal point, and either collage in associated pieces of drawings or photographs, or odd compositional motion with blur and distortion filters. Finally, lighting or tonal effects ore added to the entire piece to further delineate the forms or to homogenize disparate elements. The sources are all my own photographs or drawings.

Part of an ongoing exploration of creating “sacred sites,” featuring portals of various types that use textures and colors to focus the space or hint at further locations.

In little_one, viewers engage with a 3D-rendered virtual creature by lifting its padded LCD monitor and holding it as one would hold an infant, cradling it in their arms and gazing down at it. Though amorphous and repulsive, the creature on screen nonetheless elicits feelings of empathy through its lifelike sounds and motions. little_one responds much as an infant would, crying and grasping when tipped or shaken, its heavy head falling in the direction of gravity. If held gently, it “coos” happily.

My goal is to investigate what it is that makes us feel connected to other living beings. Through the use of 3D computer graphics and interactive programming, I have created a series of works depicting forms that seem to be living, or derived from living beings. These virtual objects are clearly fictitious, yet they can inspire empathy, dis­gust, and fascination. They are intended to elicit an awareness of the dis-junctions that can occur between one’s emotional and intellectual reactions, and provoke the viewer to consider the process through which we come to identify with the objects of our gaze.

In little_one, this exploration is pursued with even greater intensity. No experience is more intimate than holding an infant. Clearly, the creature on the screen is artificial, yet it is hard to resist the desire to nurture it. Is it the haptic interface or the kinesthetic knowledge that is called into play, thus lowering our intellectual guard? Or is it that its situation connects us to feelings of helplessness that we’ve all had before? Technically, little_one is relatively simple. But when viewers pick up the piece and implicitly suspend their disbelief (if only for a few moments), little_one feels like a fragile being in their care.

Summary

Hauntings is a mixed reality portrait of Australian writer Francesca da Rimini. Hauntings uses virtual and augmented reality technologies to create a series of portraits of da Rimini and her writing. These stories are autobiographical and explore cultural diaspora and cross-generational family histories.

Abstract

Hauntings is a portrait of Australian writer Francesca da Rimini. Francesca was a member of cyberfeminist collective VNS Matrix. Hauntings uses mixed reality technologies to create a series of portraits of Francesca reading her writing. Her stories are autobiographical and explore cultural diaspora and cross-generational family histories. They act as spells and incantations and often draw from algorithmic writing techniques.

The XR encounters seeks to recreate the experience of listening to da Rimini’s writing. These both share a deliberate tension of wanting to make sense of the world but also embracing fragmentation and a breakdown of meaning and a falling apart of the image. They both seek to call forth less mainstream perspectives of reality. The visuals are influenced by the Tonkin’s ongoing explorations into embodied perception and the relationship between the movements of a viewer and the active bringing forth of a world.

I’ve been working with 3D technologies since 1985. This work is the first that I have made that takes the work into mixed realities. I’m interested in the multiple creative possibilities of XR and for this project I have explored a more fragmented portraiture.

My recent work has explore embodied perception – how vision is an active process that is directed by the movements of the body. This work extends these investigations into mixed reality.

Big Data is the new superstition now!

It is a piece of contemplative immersive installation art, where in using the ancient Chinese metaphysic algorithm, “BaZi”. Yet take out all the Extra cultural signs & materialistic interpretations, remain only the “Basic”, ie the 5 elements (gold/ wood/ water/ fire/ earth). Participants type in their date & time of birth, the fortune-telling algorithm turns out showing only the Unique ones’ flow of colors. We can see no prediction of life from this machine, but only time & changes.

“What do you want to know?”, both data scientist or fortune-teller have the ability to turn the world of uncertainty into quantified numerical existence, then giving us an answer with future prediction. Big data seems inevitably becoming our new religion. If So, what is information? And what are the emotions? Interesting though, we want to be in control, but from BaZi to predictive analytics, we allow ourselves to believe in something that we don’t understand how it works. And so, you Would say it is knowledge or superstition? “What do you want to be?”, intelligent algorithm or you can answer this question better? I am part of the data therefore I am? Where exactly humanity will go?

“AS” (RuShi) (2018) , IS at The First Work of fan / letter (Immersion / Decentralization) series. “Superstition” in Chinese means superstition. Playing on the double meaning, ” fan” means “lost” and “trust” Means “belief & trust”. So, extending the meaning to immersive-ness, and new trust, from the idea of ​​decentralization. fans/the beliefs of new cultures and human behavior of mixed realities & new identities in the computer age.

I paint to make the world a better, more beautiful place. Specifically, I paint to show the beauty of interrelation. I juxtapose line and shape to relate them strongly with one another, to forge the separate elements into a dynamic, inter-working whole.

I build each painting to mold a certain feeling, to create a certain energy. It is an energy of pressure, of potential, a latent energy like a compressed spring or the excitement of a crowd. I choose the lines I draw and the shapes I paint in order to produce and heighten this energy.

As someone who has always stood apart, observing the world as though from the outside, I sense strongly the ties that exist between the members of humankind md the cosmos in which they dwell. I choose to draw out and accentuate these relationships in my work, in symbolic form. My hope is that someday I may so completely portray these relationships that by merely painting I will bind people closer to others and to the world around them.

I paint to make the world a better, more beautiful place. Specifically, I paint to show the beauty of interrelation. I juxtapose line and shape to relate them strongly with one another, to forge the separate elements into a dynamic, inter-working whole.

I build each painting to mold a certain feeling, to create a certain energy. It is an energy of pressure, of potential, a latent energy like a compressed spring or the excitement of a crowd. I choose the lines I draw and the shapes I paint in order to produce and heighten this energy.

As someone who has always stood apart, observing the world as though from the outside, I sense strongly the ties that exist between the members of humankind md the cosmos in which they dwell. I choose to draw out and accentuate these relationships in my work, in symbolic form. My hope is that someday I may so completely portray these relationships that by merely painting I will bind people closer to others and to the world around them.

I paint to make the world a better, more beautiful place. Specifically, I paint to show the beauty of interrelation. I juxtapose line and shape to relate them strongly with one another, to forge the separate elements into a dynamic, inter-working whole.

I build each painting to mold a certain feeling, to create a certain energy. It is an energy of pressure, of potential, a latent energy like a compressed spring or the excitement of a crowd. I choose the lines I draw and the shapes I paint in order to produce and heighten this energy.

As someone who has always stood apart, observing the world as though from the outside, I sense strongly the ties that exist between the members of humankind md the cosmos in which they dwell. I choose to draw out and accentuate these relationships in my work, in symbolic form. My hope is that someday I may so completely portray these relationships that by merely painting I will bind people closer to others and to the world around them.

Notations is an interactive musical installation, enabling viewers to instantly compose music and produce clefs on a projection screen. To initiate the interaction, the viewer touches strings, triggering the projection of musical notations. Simultaneously, one of the screens displays an interactive animation. The idea of using music sheet design came from Gregorian Chants, referring to the musical scores used in the mid-5th century Western Europe. Today, as part of the technological generation, the Digital surrounds us in all aspects of our lives, including music. The objective in Notations is to use interactivity to explore the conversion of the digital signal back to the original source of musical notations, expressing the digital aesthetics of interactive technology art and collaborative creation, and imbuing digital kinetic instruments with enhanced cultural and musical qualities.

Life Journey is an interactive installation that confronts visi­tors with the confinement imposed by a wheelchair. The piece contrasts the immobility of the visitor, sitting motionless in a chair (which is attached to the floor) with the illusion of high-speed travel, created by visual projections on both sides of the user. Accompanying the visuals are sounds of highway traffic and the force of simu­lated wind.

The media employed to create the installation include a video component, a motorized wheelchair, and other mechan­ical and electrical elements. To explore the installation, a visitor enters a dark space with a single illuminated wheelchair in the center. As the visitor sits in the chair, the wheels begin to spin, and video projectors suspended from the ceiling on either side of the chair are activated, as is an industrial fan located directly in front of the chair. The projected visual images consist of 70-mile­per-hour traffic, accompanied by appropriate sounds. This vicarious “journey” continues as long as the visitor remains seated. The environment simulates the sensation of whirling through the wind like an automobile.

Life Journey gives the visitor the ability to move virtually from one space to another with the understanding that individuals who live with a wheelchair have limited mobility in parts of their bodies. While the visitor remains seated, the wheelchair becomes a contradiction of motion. This juxtaposition of mobility with immobility heightens the awareness of the loss of control that one feels when confined.

Fifty Sisters is comprised of fifty computer synthesised plant-forms, algorithmically “grown” from computer code using artificial evolution and generative grammars. Each plant-like form is derived from the primitive graphic elements of oil company logos. The title of the work refers to the original “Seven Sisters” – a cartel of seven oil companies that dominated the global petrochemical industry and Middle East oil production from the mid-1940s until the oil crisis of the 1970s. Oil has shaped our civilisation and driven its unprecedented growth over the last century. We have been seduced by oil and its bi-products as they are now used across almost every aspect of human endeavour, providing fuels, fertilisers, feedstocks, plastics, medicines and more. But oil has also changed the environment, evident from the petrochemical haze that hangs over many a modern metropolis, the environmental damage of major oil spills, and the looming spectre of the global climate crisis. With worldwide demand for oil now at 93 million barrels per day, humanity’s appetite for oil is unrelenting. Oil companies regularly report many of the all-time largest annual earnings in corporate history. This 3-screen triptych of the work presents each form sequentially as a slow, evolving mediation on nature, technology and human consumption. 3 x 4k synchronised video displays, stereo speakers, 30mins