Artworks Data Table

My body of work seduces. I scan objects such as fabric, newspaper, and rope to create folds, crevices, and hidden spaces. I literally create fabricated landscapes whose tactile imagery urges one to touch the surface of the print.

No image completely retains its original value or meaning after I’ve transformed it in montage. A newspaper article becomes a hilltop or a corn husk. A plastic cosmetic case becomes a wind turbine. A photograph of a nurse becomes a pirate ship’s soil. I am interested in how the viewer is able to follow these fantastic translations through allusions to familiar farms. The combination of real objects, photographs, and completely computer-generated imagery produces a hybridized landscape that is surreal in its incongruities and yet remains grounded because of references to the familiar.

My artwork expresses a desire for mastery and control over the male subject. Rather than being concerned with (re)gaining control over imagery of the female subject, I am fascinated with the cultural control inherent in creating imagery of the “other,” in my case, the masculine experience. I imbricate the sexual within the visual through fetishizing the inorganic and invest every object with a throbbing life vein. The subjects within my layered narratives are surrounded by a landscape and objects burgeoning with desire, threats, and anxiety.

I use Photoshop, for image manipulation, along with an object-oriented and vector-based program, RIO, for laying out my compositions within a PC. My visual sources have included traditional photography, appropriated and computer-generated imagery, and images of objects captured using a flat-bed scanner. This lost method, scanning objects on a flat-bed, has been very important in defining my visual style. My interest in using the flat-bed to capture the various perspectives of objects and to achieve a dramatic three-dimensional quality (due to the modeling effects created by the light source) has drawn me to three-dimensional modeling programs. I now use 3D Studio MAX to create three-dimensional objects and incorporate this imagery alongside my other visual sources. I am currently exploring the possibilities of creating a hybrid between my normal output method, inkjet and cibachrome prints, and a projected animation that appears within the static print.

My body of work seduces. I scan objects such as fabric, newspaper, and rope to create folds, crevices, and hidden spaces. I literally create fabricated landscapes whose tactile imagery urges one to touch the surface of the print.

No image completely retains its original value or meaning after I’ve transformed it in montage. A newspaper article becomes a hilltop or a corn husk. A plastic cosmetic case becomes a wind turbine. A photograph of a nurse becomes a pirate ship’s soil. I am interested in how the viewer is able to follow these fantastic translations through allusions to familiar farms. The combination of real objects, photographs, and completely computer-generated imagery produces a hybridized landscape that is surreal in its incongruities and yet remains grounded because of references to the familiar.

My artwork expresses a desire for mastery and control over the male subject. Rather than being concerned with (re)gaining control over imagery of the female subject, I am fascinated with the cultural control inherent in creating imagery of the “other,” in my case, the masculine experience. I imbricate the sexual within the visual through fetishizing the inorganic and invest every object with a throbbing life vein. The subjects within my layered narratives are surrounded by a landscape and objects burgeoning with desire, threats, and anxiety.

I use Photoshop, for image manipulation, along with an object-oriented and vector-based program, RIO, for laying out my compositions within a PC. My visual sources have included traditional photography, appropriated and computer-generated imagery, and images of objects captured using a flat-bed scanner. This lost method, scanning objects on a flat-bed, has been very important in defining my visual style. My interest in using the flat-bed to capture the various perspectives of objects and to achieve a dramatic three-dimensional quality (due to the modeling effects created by the light source) has drawn me to three-dimensional modeling programs. I now use 3D Studio MAX to create three-dimensional objects and incorporate this imagery alongside my other visual sources. I am currently exploring the possibilities of creating a hybrid between my normal output method, inkjet and cibachrome prints, and a projected animation that appears within the static print.

My recent artwork portrays female subjects who are in the midst of constructing a complex identity that takes the functional rationales of a technologically based society to its excessive extremes and uses its logic to serve their appetites for power, control, and sexual satiation. The Siren is an image of a woman constructing an industrial form out of her hair using decorative braids and hair weaves. The physical prowess of men is fueling the regeneration of her hair, which is swallowing the landscape and the men upon it.

Natural order infuses several levels of both worlds: some determined by human society and some determined by nature. It guides our understanding of big datasets related to network analysis. Acutely aware of order, I examine what technological and human worlds have in common. My task is to juxtapose the regularity of nature with human constructions, both physical and intellectual. The big-city images, for example, combine how humans affect their environment, and at the same time, how a city metaphor reflects rhythm and organization of big datasets and makes data mining easier.
Some of my computer graphics explorations serve as a point of departure for a series of prints and sculptures. Processes in nature and events in technologies inspire my images. I transform an image of an animal into a simple image, an iconic object such as a rocking horse or a symbolic picture of a man or a bird, to present them in dynamic movement as the visible texture of the sky and the ground. Such processes also support my instruction in computer art and graphics, where students learn to create artwork inspired by science and demonstrate what they understand of scientific concepts.

Statement: Moments, events, or occurrences from life performance or common daily activities are recorded through sketches. Some were transformed into aluminum plates connected together for sturdiness. The sets of plates can be arranged for diversity, like the placement of musicians on the stage can impact their music, and may even influence the genre. Some of the sketches are organized through the use of software, such as Power Point, or Internet networking, such as Mixbook. In any case, the story is told graphically in order to show and emphasize pattern with its differences, and similarities.

Humans create cities, whereas a city metaphor reflects datasets.

What do technological and human worlds have in common? Natural order guides our understanding of big datasets related to network analysis, when we employ physical analogies of the data, render the data graphically, explore them “by eye,” and interact in real time. My task is to juxtapose the regularity of nature with human physical and intellectual constructions. The big city, for example, combines how humans affect their environment and how a city metaphor reflects rhythm and organization of big datasets, and makes data mining easier. Observers, whether artists or technology experts, perceive such relationships from different perspectives and different points of view.

Humans create cities, whereas a city metaphor reflects datasets.

What do technological and human worlds have in common? Natural order guides our understanding of big datasets related to network analysis, when we employ physical analogies of the data, render the data graphically, explore them “by eye,” and interact in real time. My task is to juxtapose the regularity of nature with human physical and intellectual constructions. The big city, for example, combines how humans affect their environment and how a city metaphor reflects rhythm and organization of big datasets, and makes data mining easier. Observers, whether artists or technology experts, perceive such relationships from different perspectives and different points of view.

Acutely aware of order, I try to examine what technological and human worlds have in common. Natural order, revealed randomly and regularly, infuses several levels of both worlds: some determined by humans (through buildings, their windows, even cars parked in lots) and some determined by nature (through trees, branches, and leaves).
Natural order guides our understanding of big data sets related to network analysis when we employ physical analogies of the data, render the data graphically, explore them “by eye,” and interact in real time. My task is to juxtapose the regularity of nature with human constructions, both physical and intellectual. The big-city images, for example, combine how humans affect their environment and, at the same time, how a city metaphor reflects the rhythm and organization of big datasets and makes data mining easier. Observers, whether artists or technology experts, perceive such relationships in different lights and from different perspectives and different points of view. Sometimes my computer graphics explorations result in a threedimensional design based on an image of a transformed manikin . When a repetition of human figures depersonified for the purpose of fulfilling the goal is put into an ordered, endless landscape, I have unified the meaning of humans and a landscape using rigid order created with a computer. My work has been inspired by my interest in the common processes of nature in the human and animal worlds, and in their surrounding environment. I transform an image of an animal into a simple iimage, an iconic object such as a rocking horse or a symbolic picture man or a bird, to present them in dynamic movement as the visible texture of the sky and the ground. In our visual planes of multiple horizons, we can see the same familiar crowd on the floor of ground and the wall of sky, soft and hard inhabitants sharing lots and having common goals, joining tasks, ongoings. Processes in nature and events in technologies inspire my images. Such processes also support my instruction in computer art and graphics, where students learn to create artwork inspired by science and demonstrate what they understand of scientific concepts.

Acutely aware of order, I try to examine what technological and human worlds have in common. Natural order, revealed randomly and regularly, infuses several levels of both worlds: some determined by humans (through buildings, their windows, even cars parked in lots) and some determined by nature (through trees, branches, and leaves).
Natural order guides our understanding of big data sets related to network analysis when we employ physical analogies of the data, render the data graphically, explore them “by eye,” and interact in real time. My task is to juxtapose the regularity of nature with human constructions, both physical and intellectual. The big-city images, for example, combine how humans affect their environment and, at the same time, how a city metaphor reflects the rhythm and organization of big datasets and makes data mining easier. Observers, whether artists or technology experts, perceive such relationships in different lights and from different perspectives and different points of view. Sometimes my computer graphics explorations result in a threedimensional design based on an image of a transformed manikin.  When a repetition of human figures depersonified for the
purpose of fulfilling the goal is put into an ordered, endless landscape, I have unified the meaning of humans and a landscape using rigid order created with a computer.
My work has been inspired by my interest in the common processes of nature in the human and animal worlds, and in their surrounding environment. I transform an image of an animal into a simple iimage, an iconic object such as a rocking horse or a symbolic picture man or a bird, to present them in dynamic movement as the visible texture of the sky and the ground. In our visual planes of multiple horizons, we can see the same familiar crowd on the floor of ground and the wall of sky, soft and hard inhabitants sharing lots and having common goals, joining tasks, ongoings. Processes in nature and events in technologies inspire my images. Such processes also support my instruction in computer art and graphics, where students learn to create artwork inspired by science and demonstrate what they understand of scientific concepts.

We care about knitting together dwellings with a landscape, with roofs repeating the line of the hills, and slowly learn to draw natural resources from the power of sun, wind, and water.

Statement: Moments, events, or occurrences from life performance or common daily activities are recorded through sketches. Some were transformed into aluminum plates connected together for sturdiness. The sets of plates can be arranged for diversity, like the placement of musicians on the stage can impact their music, and may even influence the genre. Some of the sketches are organized through the use of software, such as Power Point, or Internet networking, such as Mixbook. In any case, the story is told graphically in order to show and emphasize pattern with its differences, and similarities.

Acutely aware of order, I try to examine what technological and human worlds have in common. Natural order, revealed randomly and regularly, infuses several levels of both worlds: some determined by humans, through buildings, windows, even cars parked in lots, and some determined by nature, through trees, branches, and leaves. Natural order guides our understanding of big datasets related to network analysis, when we employ physical analogies of the data, render the data graphically, explore them “by eye” and interact in real time. My task is to juxtapose the regularity of nature with human constructions, both physical and intellectual. The big city, for example, combines how humans affect their environment and how a city metaphor reflects rhythm and organization of big datasets, and makes data mining easier. Observers – whether artists or technology experts – perceive such relationships in different lights and from different perspectives and different points of view.Processes in nature and events in technologies inspire my images. Such processes also support my instruction in computer art and graphics, where students learn to create artwork and demonstrate what they understand of scientific concepts. Noise Control You worked all your life to keep silence safe from noise. The quieter it’s here the less renowned you are.

Acutely aware of order, I try to examine what technological and human worlds have in common. Natural order, revealed randomly and regularly, infuses several levels of both worlds: some determined by humans, through buildings, windows, even cars parked in lots, and some determined by nature, through trees, branches, and leaves. Natural order guides our understanding of big datasets related to network analysis, when we employ physical analogies of the data, render the data graphically, explore them “by eye” and interact in real time. My task is to juxtapose the regularity of nature with human constructions, both physical and intellectual. The big city, for example, combines how humans affect their environment and how a city metaphor reflects rhythm and organization of big datasets, and makes data mining easier. Observers – whether artists or technology experts – perceive such relationships in different lights and from different perspectives and different points of view. Processes in nature and events in technologies inspire my images. Such processes also support my instruction in computer art and graphics, where students learn to create artwork and demonstrate what they understand of scientific concepts.

Pitch and Volume

Let’s listen to the city music. Pitch our voices in key with others without confusion of tongues and meaning. Let’s hum a tune and rejoice in laugh when we stay set in a traffic jam.

Acutely aware of order, I try to examine what the technological and human worlds have in common. Natural order, revealed randomly and regularly, infuses several levels of both worlds: some determined by humans, through buildings, their windows, even cars parked in lots, and some determined by nature, through trees, branches, and leaves.

Natural order guides our understanding of big data sets related to network analysis when we employ physical analogies of the data, render the data graphically, explore them “by eye,” and interact in real time. My task is to juxtapose the regularity of nature with human constructions, both physical and intellectual. The big-city images, for example, combine how humans affect their environment, and at the same time, how a city metaphor reflects rhythm and organization in big datasets and makes data mining easier. Observers, whether artists or technology experts, perceive such relationships in different lights and from different perspectives and different points of view.

In my work, I transform images of animals into simple, iconic objects in order to present them in dynamic movement as the visible tex­ture of the sky and the ground. Processes in nature and events in technologies inspire my images. Such processes also support my instruction in computer art and graphics, where students learn to create artwork inspired by science and demonstrate their under­standing of scientific concepts.

Acutely aware of order, I try to examine what the technological and human worlds have in common. Natural order, revealed randomly and regularly, infuses several levels of both worlds: some determined by humans, through buildings, their windows, even cars parked in lots, and some determined by nature, through trees, branches, and leaves.

Natural order guides our understanding of big data sets related to network analysis when we employ physical analogies of the data, render the data graphically, explore them “by eye,” and interact in real time. My task is to juxtapose the regularity of nature with human constructions, both physical and intellectual. The big-city images, for example, combine how humans affect their environment, and at the same time, how a city metaphor reflects rhythm and organization in big datasets and makes data mining easier. Observers, whether artists or technology experts, perceive such relationships in different lights and from different perspectives and different points of view.

In my work, I transform images of animals into simple, iconic objects in order to present them in dynamic movement as the visible tex­ture of the sky and the ground. Processes in nature and events in technologies inspire my images. Such processes also support my instruction in computer art and graphics, where students learn to create artwork inspired by science and demonstrate their under­standing of scientific concepts.

A cycle of city life (day and night time, cars parked, cars driven, red lights, green lights, windows open, window closed) is presented in the form of it’s rhythmical structure and organization. The overall character of this city becomes organized around it’s own elements. Those are then blended and projected through a larger window: the end result becomes the focus of ones own attention.

The image of the fighter, with the archetypical face, striving to attain his goals. The prototype and the archetype of the Warrior – the meaning and the symbol.

Our planet holds mostly water. In the water, much as in our lives, changes are slow yet difficult to keep up with. As we grow up, we hear stories about goodness and bravery, un-won battles and new lands unconquered for simple but unexplainable reasons. We envision joy on a princess’ face when she is presented with silk and pearls sent on a ship under big white sails. We embolden the prince in shining armor, on a white horse, to fight a dragon and win a princess whose portrait is in a talisman he carries. These tales vary depending on the culture, but they create values that we can translate into contemporary media to help us understand reality. We transform old cultural information to meet the needs of the present audience; works of literature are remade as movies; traditional stories are retold with new metaphors and annotations; histories are modified and retold in ways that mollify, rather than inflame, an audience.

Natural order infuses several levels of both worlds: some determined by human society and some determined by nature. It guides our understanding of big datasets related to network analysis. Acutely aware of order, I examine what technological and human worlds have in common. My task is to juxtapose the regularity of nature with human constructions, both physical and intellectual. The big-city images, for example, combine how humans affect their environment, and at the same time, how a city metaphor reflects rhythm and organization of big datasets and makes data mining easier.
Some of my computer graphics explorations serve as a point of departure for a series of prints and sculptures. Processes in nature and events in technologies inspire my images. I transform an image of an animal into a simple image, an iconic object such as a rocking horse or a symbolic picture of a man or a bird, to present them in dynamic movement as the visible texture of the sky and the ground. Such processes also support my instruction in computer art and graphics, where students learn to create artwork inspired by science and demonstrate what they understand of scientific concepts.

Acutely aware of order, I try to examine what technological and human worlds have in common. Natural order, revealed randomly and regularly, infuses several levels of both worlds: some determined by humans (through buildings, their windows, even cars parked in lots) and some determined by nature (through trees, branches, and leaves). Natural order guides our understanding of big data sets related to network analysis when we employ physical analogies of the data, render the data graphically, explore them “by eye,” and interact in real time. My task is to juxtapose the regularity of nature with human constructions, both physical and intellectual. The big-city images, for example, combine how humans affect their environment and, at the same time, how a city metaphor reflects the rhythm and organization of big datasets and makes data mining easier. Observers, whether artists or technology experts, perceive such relationships in different lights and from different perspectives and different points of view. Sometimes my computer graphics explorations result in a threedimensional design based on an image of a transformed manikin. When a repetition of human figures depersonified for the purpose of fulfilling the goal is put into an ordered, endless landscape, I have unified the meaning of humans and a landscape using rigid order created with a computer.  My work has been inspired by my interest in the common processes of nature in the human and animal worlds, and in their surrounding environment. I transform an image of an animal
into a simple iimage, an iconic object such as a rocking horse or a symbolic picture man or a bird, to present them in dynamic movement as the visible texture of the sky and the ground. In our visual planes of multiple horizons, we can see the same familiar crowd on the floor of ground and the wall of sky, soft and hard inhabitants sharing lots and having common goals, joining tasks, ongoings. Processes in nature and events in technologies inspire my images. Such processes also support my instruction in computer art and graphics, where students learn to create artwork inspired by science and demonstrate what they understand of scientific concepts.

Our cars contain us. We are immersed in the commuting culture for most of our lives, no matter who does the driving. To many it is a “me” time, when driving alone, listening to the music, learning a foreign language, or memorizing a verse, singing along, training one’s voice time, talking on the speakerphone to those one never has time for, or listening to recorded literature in a presence of ever-changing landscapes and events. Some use that time to think, rethink, reorganize, plan, or retrospect and find out some solutions. At the same time, we belong to the road with other cars, tracks, moving houses, other drivers, objects, and whatever we need to divide our attention for. The interior and the exterior intermix and become one unified world of a driver and a car.

We rely on the trucks for many reasons and it is part of our daily routine to pass a truck driver, or see a truck moving in front of us. The truckers spend a lot of time in their cars relying on technologies. They spend a lot of time behind the wheel and develop specific culture, routine, and habits. They share stories, and then feel some parts of them present in their heads during the long days or nights on the road. Everything has a deadline, expiration date, or a contract to obey.

In computing everything can be done many different ways with different approaches. This collaborative work suggests some solutions for particular moods displayed by selecting an area to hear some related to the area of an image tune, someone’s thoughts, and see them typed out for better comprehension.
We observe other drivers reacting to many signals prompting them to react properly. On the stop light we see all faces smiling of those turning left fast, as if they’d be immersed in a chair of a merry-go-round.

This work incorporates the topic of senses: what we lost as a kind (or a specie), how we support our senses, how we evoke different meaning by generating some interacting content, etc. We possess many more senses than our kindergarten teachers tell us about. We use them while driving, whether we acknowledge it, or not.

When the self-driving cars will fully take over, all that immersive experience of being part of the car will be replaced by the experience of a train, plane, a boat, or a taxi commuter. No concurrent attention, and not much interaction with the outside of the car world. New reality. Just one polite car.

In my work, I use the computer on different levels. For my two-dimensional works, I have been programming in Fortran IV then Fortran 77 using Cyber then VAX mainframes, and Interactive Graphic Library (IGL). I have been setting color combinations, transforming light intensity, applying grid patterns and moiré effects in order to gain composition. The two-dimensional programs serve as a point of departure for photolithographs after computer programs and photo-silkscreened prints on canvas and paper; they are included in both my two-dimensional and three-dimensional works. Scanners, digital camera, and PPC serve for further image manipulation. All of these approaches are combined for image creation with the use of painterly markings. Printouts have been obtained in several ways: first, black-and-white plots from the Versatec plotter and color slides via the Computer Output Microfilmer (COM) recorder, then inkjet printers/plotters.

For three-dimensional works, I have been programming in Fortran to make representations of masses in a vector mode. Then, the wireframed objects are transformed by scaling, rotating, stretching, assigning various perspectives, and changing the point of view (the center of direction of projection). I use computer programs as an inspiration for creating wooden and mixed-media sculptures. The wireframe design serves as a guide in their construction. To initialize a sculpture, I multiply then superimpose the transformed images, and I often incorporate the factor of time into the sculpture, giving the viewer the illusion of movement.

I draw inspiration from processes and events in nature and science while working on my computer-generated images. Several of my works are inspired by geology. At the same time, this approach supports my instruction in computer art. Students create artworks inspired by science, and the themes of the computer-art assignments are enriched with their learning process, when they analyze a concept to show their understanding of it.

And again you commute
stable and roaming
sitting quietly while driving in a haste,
attentive yet unobservant.

So distinct in your glass case
yet immersed in milieus
urban and rural anew,
too familiar to disturb.

Composing tunes you whistle
listening to yourself
learning what you want for sure
enjoying the company of you.

Let’s learn to be silent from schools of fish. Let our actions be sound without noise.

Monday Morning emphasize the typical routine each of us goes through during the work week, as after the weekend everything starts over; the cycle repeats itself with greater empathy, less efficiency and even less energy. All commotion, turmoil, confusion and individual interests are then expressed and perceived with greater intensity. This becomes a summary and cast of characters for the whole week.

Moon enters the city
Its converging structures belong to other town interiors
left behind with inattention
showing the way to new encounters.

Wooden moon soaks familiar sandboxes, parks, factories
well-retained in the memory.
A city, never visited before,
welcomes the guest.

No Man No Shadow is an account of conquering distance, with an experience described by T. S. Eliot in “Little Gidding:” Either you had no purpose, or the purpose is beyond the end you figured and is altered in fulfillment. At the same time, what is seen in the surroundings brings an association to mind: rhythmic patterns in nature remind us of a perfection of computer algorithms.

In my work, I use the computer on different levels. I have been programming in FORTRAN 77 using a VAX mainframe. I have been setting color combinations, transforming light intensity, applying grid patterns and moiré effects in order to gain composition. I find computer graphics to be a very useful medium to convey order and regularity of forms in landscape. I draw inspiration from processes and events in nature and in science while working on my computer-generated images.

Timetable
Long day of errands in the City
Memories seen against the light
Times and places in order again

My main concept is to juxtapose the regularity of shapes in nature with man-made constructions using various perspectives and points of view. I work in series. This series of my work is entitled New York – New York. Seeing New York as one of the world’s wonders, I provide a pictorial representation of interrelationships typical for the “Big City.” Everybody perceives in different light and from a different perspective. Several levels of order can be depicted here: an order determined by man, by properly positioning buildings or windows in a building, repetitive arrangement of objects, such as the orderly placement of cars on a parking lot, or natural patterns, such as a regular arrangement of leaves. My purpose is to document some indescribable events that are revealed to us randomly but regularly every day. Our typical routines repeat in cycles with great empathy. All the commotion, turmoil, confusion, and individual interests are expressed and perceived with great intensity.

Summary

Installation that utilizes machine learning to reflect on systematic discrimination by focusing on the indefinite detention of Mexicans with Japanese heritage concentrated in Morelos during WWII. This algorithmic discrimination system tears apart four classic fiction films continuously within a projection room. Fragmentation and segregation is decided using machine learning algorithms.

Abstract

Contemplations on Inner Space 4 explores the relationship between individuals and their physical and psychological environments. It looks at how psychological states of mind can create conflicts between what is tangibly present and what is emotionally seen. The idea of venturing into “personal reality” is immensely important when reflecting upon the suggestion that what we see is dictated by our perception, thereby becoming a reality in and of itself.

As we reflect upon the idea that place is directly related to psychological states of being, we begin to realize that what we perceive and what is “in actuality” around us may not be the same. Thus we begin to recognize that not everything we encounter is easily understood or arrived at, particularly if we are dealing with psychological presence. Contemplations on Inner Space 4 is about that creation of psychological environments that mimic individuals’ states of mind. As such, there is a noticeable absence of a “physical” body within it. This space is not an environment that demands the presence of a figure; rather the “literal” figure is replaced by a “psychological” presence. In essence, we become conscious that we are peering into a land that is based purely upon an individual’s perception. We see their “world” through their “eyes.”

Sometimes I begin by taking photographs and scanning them. Or, information can be grabbed from video tape. Coastline of Hell and Contemporary Chaos originated from video footage from my movie, Volcano. The digitalization process turns information, whether it comes from video, photographic replication of the phenomenal world, 3-D computer images or images of space that no one was there to see, into bits and bytes, available to the machine and to the will of the artist. This allows me to gather material from everywhere. All visual forms are available.

Using the vast capabilities of the software, including, but not limited to, filters, painting, color manipulation, selective masking, cutting and pasting and other tools (some not available to physical media) I begin to work in as open and unpremeditated state as possible. I make my decisions visually and intuitively, knowing and understanding the parameters of the areas I want to explore, exploring with the tools at hand, letting the process flow as it does with any other medium.

I use the computer to reveal the underlying structure within forms found in the phenomenal world, be they natural or human made. The computer is like a window through dimensions, allowing vision into the spirit, the hidden realms of nature and the structures of society. It is a power tool of the mind and the eyes that can be used to reveal the infinity within, the roots of natural beauty or the underpinnings of human culture. I used this visual information to create an edifice by which I can suspend myself over the edge and look into the abyss of the yet-to-be-seen.

When the work is finished, it has no physical existence beyond the digital information stored on disk, displayed on screen. This information is used to create a high resolution, ink jet print on archival paper. I use a proprietary paper called Kim Dura which gives an intense rendering of the colors, yet does not attempt to look like a photograph or a traditional print.

Technology has changed the profile of the modern landscape, from multi-lane highways to smokestack triplets to the hard geometry of cruise ships on the ocean. The computer, a factor in many such changes, is an ideal tool for meditating on the resulting new visual patterns. With a digital camera in hand, I record aspects of the modern landscape that intrigue me. Using a range of 2D and 3D software, I then create images that combine the visual language of photography with the interactive compositional strategies of painting. I hand render the final images using traditional oil-painting techniques.

Technology has changed the profile of the modern landscape, from multi-lane highways to smokestack triplets to the hard geometry of cruise ships on the ocean. The computer, a factor in many such changes, is an ideal tool for meditating on the resulting new visual patterns. With a digital camera in hand, I record aspects of the modern landscape that intrigue me. Using a range of 2D and 3D software, I then create images that combine the visual language of photography with the interactive compositional strategies of painting. I hand render the final images using traditional oil-painting techniques.

This artwork is an interactive art website.  The given link is no longer active.

This piece uses architectural elements to create an intimate, personal experience of an expansive landscape. The effect creates a vision of a focused “moment” within the environment, containing the emotional response we have to boundless space.

This vignette from a series based on travels in China is meant to convey a feeling of contained beauty and texture by layering magnified, organic fragments over broader spaces and architecture. The created intimacy is meant to welcome the viewer into a foreign space that may have felt inaccessible.

Crossroads is a Web project that explores the capacity of film and advertising culture to shape our sense of place. It creates a series of metaphorical spaces that are constructs of the mythic and actual Times Square/42nd Street area and extends to explore New York as a film location. The viewer can enter multiple narratives in the form of “pseudo films”: animated images and a mix of ambient sound, audio monologues, and animated texts. These “pseudo films” incorporate aspects of film genres that are closely identified with Times Square: noir, the B-movie, the musical, and the coming-to-New-York story. Crossroads establishes a dynamic space in which the familiar architectural and commercial icons of Times Square and 42nd Street are reconfigured in a mix of personal myth and public space. Environment and architecture become the scrim for projections of memory and imagination.

My work explores the urban environment and architecture as visual language. While my projects explore the visual vocabulary of architecture, there is also an underlying investigation of the cultural and social meanings of the architectural landscape. This work develops new narrative structures that incorporate simultaneous, multiple narratives in image, text, and audio within a constructed space.

This artwork is an interactive art website.  Please follow the provided link to view.

Under the Clock: Big Clock is also a still image from the QuickTime movie Under the Clock from the project Waiting Room. It shows another view of the Waiting Room space. This space also exists in an interactive version in which the viewer can move through the space. With proximity, moving image sequences are triggered on the image walls.

Under the Clock: Kiosk is a still image from the QuckTime movie Under the Clock from the project Waiting Room.
Under the Clock uses the space of Waiting Room as stage set. A model of an imaginary railway waiting room becomes the backdrop for a series of experiences that examine the psychological effect of space. This video is part of a larger discourse on travel, time and space. Under the Clock explores the anxieties of travel, feelings of displacement and the sense of isolation within public space and views space as narrative container, intertwining physical space and psychological state. Kiosk shows an overview of the Waiting Room space.

In our early days, Mother Earth was our goddess. Through rituals in the holy labyrinth, we could walk the path to her, to inner truth, fer tility, and happiness. In Sweden we have -300 labyrinths. Our country has the highest incidence of labyrinths in the world. They do exist in many other countries as well, and the Indians of A merica used the same figures before Columbus discovered them. In our modern times, we have forgotten the link to our divine selves and Mother Nature. Our bodies, plants, and animals are devalued to physical objects. With new nano technology and new ideals, we are designing our bodies, buildings, and animals to better suit our needs. The body is styled, buildings are designed by the latest trends, and new cloning and breeding methods redefine animals and plants. The form of a house and of an animal comes as a result of man-made art and technology. Life itself turned into an artifact. Do we reshape ourselves and our environment on the basis of total knowledge? Do we possess a true sense of the inner values of these inner qualities? Is there more in life than we can see or measure by modern technology? Is there even a lost technology that could put us on the right track again?

With the help of the latest technology, I want to build a bridge to our lost paradise. The door to Mother Earth, inner peace, and love is still open if we want to find it. The knowledge is hidden within the design of the holy labyrinth.

The Labyrinth: The body as technological measuring instrument Historically, the connection between the earth and our bodies and souls was of natural everyday use. It was carried out in religion and reinforced by law. Before building a house in Sweden, you were to hire a “slagruteman” to detect the right place in relation to the “Curry lines.” With the help of dowsing rods, the owner’s body was used as an instrument to detect the universal grid system. In Sweden, we have about 300 labyrinths, the highest incidence of labyrinths in the whole world. Yes, they do exist in many other countries as well and are built according to the same geometrical patterns and placed in relation to the energy lines. Our labyrinths are said to be an expression of an ancient fertility cult, a tradition that has survived in Sweden to the present day; a young woman stands in the center, and a young man tries to free her. I placed my labyrinth out in the snow, and the earth energy lines were detected traditionally, with dowsing rods. The stone labyrinth was then digitized with a 30 laser scanner and exported to Maya and Photoshop in my computer, where I edited and printed it out, to share it with you. Walking the labyrinth, you can find answers to all your questions, even the meaning of life. This work uses the latest technology to get in touch with the oldest knowledge and bring us to inner peace, truth, and love. The Labyrinth is the result of a two-year collaboration among the artist, the GIS-institutet and the Creative Media Lab at the University of Gavle.

Annika Erixan’s work deals with radioactivity and its relationship to life’s hopes and fears. In 1986, radioactivity from the Tjernobyl accident in Russia spread through her region of Sweden, where the population is still prohibited from eating mushrooms or berries from the nearby forest, or fish from the lakes. She continues to live there with her children and create art that makes use of their situation and their will to survive.

Annika Erixan’s work deals with radioactivity and its relationship to life’s hopes and fears. In 1986, radioactivity from the Tjernobyl accident in Russia spread through her region of Sweden, where the population is still prohibited from eating mushrooms or berries from the nearby forest, or fish from the lakes. She continues to live there with her children and create art that makes use of their situation and their will to survive.

Daughter’s Rebirth uses organic objects (germinating plants and water) to depict natural life cycles and, in this work, the concepts behind the archetypal myth of Persephone. The work is an image celebrating the youthful goddess (depicted as a newly formed seedling) and her role as queen of the underworld. The imagery simultaneously celebrates her seasonal return to earth with the coming of spring. Persephone has returned from the underworld to walk the earth again, and Demeter, her mother, pours forth her blessings to welcome her beloved daughter home with the revival of spring.

Daughter’s Rebirth uses organic objects (germinating plants and water) to depict natural life cycles and, in this work, the concepts behind the archetypal myth of Persephone. The work is an image celebrating the youthful goddess (depicted as a newly formed seedling) and her role as queen of the underworld. The imagery simultaneously celebrates her seasonal return to earth with the coming of spring. Persephone has returned from the underworld to walk the earth again, and Demeter, her mother, pours forth her blessings to welcome her beloved daughter home with the revival of spring.

Daughter’s Rebirth uses organic objects (germinating plants and water) to depict natural life cycles and, in this work, the concepts behind the archetypal myth of Persephone. The work is an image celebrating the youthful goddess (depicted as a newly formed seedling) and her role as queen of the underworld. The imagery simultaneously celebrates her seasonal return to earth with the coming of spring. Persephone has returned from the underworld to walk the earth again, and Demeter, her mother, pours forth her blessings to welcome her beloved daughter home with the revival of spring.

The Unmanipulated Image

For the most part, photographers have applied their craft to imitation of the real world. The camera has been used to capture a frozen slice of time, arresting a single instant from its place along the flow of the timeline. Rather than suspending a single moment, my photography examines the passage of time. With the aid of a digital slitscan camera of my own invention, the horizontal axis of the image is rendered as a time exposure. A single sliver of space is imaged over an extended period of time, with moving objects inserting themselves into the data stream at different speeds and directions. The result is a mindbending swap of the dimensions of X and time. Counter to classic photography, still objects are blurred and moving bodies are rendered clearly. Some figures are elongated and have stick legs; others are stretched out, and their feet resemble skis. Shadows curve and landscapes are devoid of perspective. Instead of mirroring the world as we know it, this camera records a hidden reality. T he apparent “distortions” in the images all happen in-camera as the image is being recorded. There is no Photoshop manipulation. These “distortions” could really be described as an accurate way of seeing the passage of time, although it is unfamiliar to our traditional concept of the depiction of time and space in art. In other words, this camera is recording a reality that exists, but only we cannot see without it. I draw a link between the ephemeral nature of these fleeting image, and the elusive nature of the quantum-mechanical universe. Some scientists argue that the orbits of electrons do not exist in nature unless and until we observe them. So then, to observe is to create. Figures appear and disappear in my work like quantum particles, and uncertainty rules the day. My work reveals my admiration for and awe of the real world. Indeed the camera doesn’t lie, and truth is stranger than fiction.

For the most part, photographers have applied their craft to imitate the real world. The camera has been used to capture a frozen slice of time, and present it to us as we would normally perceive it. Thus, the photograph become a proxy of the real object.

Rather than suspending a single moment, my photography examines the passage of time. With a digital slitscan camera of my own inven­tion, the horizontal axis of the image is rendered as a time exposure. Counter to classic photography, still objects are blurred and moving bodies are rendered clearly. Instead of mirroring reality as we know it, this camera records a hidden reality. The apparent “distortions” in the images all happen in camera as the image is being recorded. There is no Photoshop manipulation. These “distortions” could really be described as a more accurate way of seeing the passage of time, although it is quite different from our traditional concept of the depic­tion of time and space in art.

The Unfolding series continues the idea of using reality as a starting point, but offering a different perspective on it. Although this is photography in the purest sense, this technique violates two of the most basic traditional photographic notions: single point perspective and the idea of the “slice of time.”

“MF: .. .for me, life consists of black and white only …
RS: … I think there is just the in-between … ”
_grau is a personal reflection on memories that appear during a car accident, where past events emerge, fuse, erode, and finally vanish ethereally. Various real sources were distorted, filtered, and placed into a sculptural structure to create not a simiple abstract, but a very private snapshot of a whole life in its final seconds. The living paintings (tableaux vivants) of growing structures branch out over 10:01 minutes (a reference to the binary system by Gottfried Wilhelm Leibniz, in which he ascribes 1 to god and O to the devil) without ever reaching pure black or white. Every element originates from real experience and is adapted from my sketches, my own body fragments, or scientific visualization methods. For example, the first still colored seconds are the prismatic halos of the collision fading into gray fs:jrau in German). The musical framework connects memories born of the dramatic moment to clusters. These are unleashed from the image flux to ease the desired free associations of the beholder.

Come in… is an interactive installation that involves video, audio, animation, and interac­tive work combined into one piece. It is my visualization of “how art should be experi­enced by the viewer.” The person who is experiencing it should be separated from the outside environment as much as possible. The viewer should have a complete experience of the work and should also expe­rience the process that goes into making that work. The process of creating art is as important as the final art piece.

With the rapid commercializa­tion of computer graphics, many artists were seduced by the finesse of technology. Their only concern was to attain the final product. The process was not as important, and most of the time the viewer did not even realize that there was a process behind the final prod­uct. I believe that this approach to computer art is wrong. We should not be the followers. We should do our art and let everybody experience it, both the product and the process. Viewers should experience the art in a way that makes them think of new ideas that will be realized as new pieces of art­work, which will in turn enable somebody else to generate some other ideas that will eventually lead toward the complete satisfaction of all of our senses. The process of creating artwork and experi­encing it (listening, seeing, or touching) should not be separated, and there should be a more tangible connection (the bridge) between the artist and the viewer. That bridge should be two-sided, and ideas should be transferred in both directions. The artist should influence the viewer’s way of experiencing the artwork, and, at the same time, the viewer should experience the artist’s process of creating the artwork.

The process of creation is a significant part of us, and we should not hide it. We have to work with the process, experi­ence it, get ideas out of it, and let others be a part of our process, to let them experience it so they can keep the process going.

There are four major parts of the installation. All four of them occur simultaneously and function as a whole.

1 Audio
I often use audio as a stimula­tion and inspiration for my animations, stills, and interac­tive work. It is not just music. It also includes noises from the street, noises from my neigh­bors’ apartments, the sound of the bells of Savannah churches, voices of my friends. In order to experience the complete idea behind this project, the viewer must experience me as an artist, so I use sounds from Croatia (my home) blended in with the rest of the audio.

2 The walls
The two monitors and audio speakers are installed within a fairly small space: 4 feet x 4 feet x 7 feet. The walls that define this space also separate the audience from the rest of the environment and put the viewer into “my” space. The walls (inside and outside the installation) are covered with my sketches, my sketches, written ideas, and some finished drawings that came out of the process of creating this piece and previous pieces. Some of those are ideas that are not directly connected with the process of creating, but they influence the process indirectly. One of the strongest is the war in my home country and the idea that I will be part of it in the fall of 1996. Even when I try to avoid it, I can’t, so I don’t even try anymore.

3 Video/animation
Like the previous two parts, the videotape describes a lot of things that go into making my artwork. It shows the process. The video monitor is mounted on top of the wall construction, and it and the computer moni­tor provide the only sources of light with the installation.

4 Interactive program
Since the process is the most important part of the installa­tion, the final product – the interactive program – is just a combination of all of those “process” ideas.

The program runs on a Pentium PC with two con­trollers and two monitors, so a viewer outside the installation and a user within the walls interact with the computer simultaneously, and with each other. The computer is a bridge between these two people.

Actions of one user influence (distort) actions of the other. The program also functions when there is only one user exploring, on either the inside or the outside of the installation. In this case, the user’s moves are interacting with the logic built into the code of the program. The person inside has the complete experience of the installation, while the person outside has just a part of it.

Users experience the program by moving through a combina­tion of 2D and 3D space and creating interesting visual compositions. The whole program is based on eight sto­ries that are happening simul­taneously inside of me. The stories are created by multiple images (also part of the video and the walls) presented on the screen as the user moves the controlling devices. On the basis of the user’s behavior (fast, slow, multiple changes of direction, what kind of drawing the user does on the screen), the program chooses what picture to present next. The pictures that are presented to the viewer do not necessarily continue the same story, because the program makes decisions (also based on the user’s behavior) to jump from story to story. The movement of the pointer on the screen is controlled by both users, but the movement on the screen need not be oriented to the movement of the control devices, so if one, or both, users move the control device toward the right, the program might move the pointer toward the left, based on the previous behavior of the user.

The interactive program is written in Borland C++ and uses SVGA graphics.

Some of us still don’t think (or don’t want to think) that computer art is a valid form of fine art. It is! Crveno Br. 1973 is dedicated to the children – victims of war in my home country of Croatia.

As many of you already know my homeland Croatia is involved in a war and that whole idea of war and destruction is something that I have to live with and it is not easy. It is not easy especially when I know that my family is there, and my friends are there, and also I will be there in a year. I don’t think that I am afraid to die in the war but I think that I am confused (a lot!)

This program is a product of that confusion and the search for my identity. This is a self portrait in a way but not just of myself. It includes my homeland (which I love and I am ready to die for), and it includes all those innocent children that were killed, and all the mothers and daughters and sisters that were raped by aggressors. It includes all the homes that were bombed and burned and all the churches that were destroyed. It also includes my thoughts. All of those things are part of me and I can’t escape from them. They are part of my life, my dreams and nightmares, they are inside my head…

There are many people here in the United States who ask me about the war and how I feel about it and what is actually going on. Sometimes it is hard for me to explain it using words only (especially in English which is not my native language) so I hope that this interactive work will help them, and everybody else to understand it better.

War inside my head is dedicated to the children-victims of war in my Croatia.

Six virtual biomorphic sculptures that entertain and intrigue the viewer by provoking instinctive reactions that encourage the desire to explore further. Moving away from mechanical (motor-based, mobile, and clockwork) kinetic sculpture, the series develops kinetic rhythms and dynamism within virtual biomorphic sculptures. Metamorphosis explores form, space, motion, material, and sound, and how these combine to affect how people perceive and believe what they see. It is the combination of these elements that make up the material of the object. Material defines how the object looks, moves, and feels to the observer. Each of the six sculptures morphs between two alternate states, in different ways, due to their differing physical properties. Each movement emits a sound that reinforces the real-life credibility of these imaginary creations. The motion or rhythm of the series is bipolar by nature, with alternating forms dependent on time, ranging from almost pendulum-like regularity to sporadic intermittent pulses. The pause between the metamorphoses can lead to a sense of anticipation, and the lack of regularity keeps the viewer guessing. This work introduces a new medium, “digital clay,” which can bring a traditionally static art form to life through programmable physical properties. Consciously and subconsciously, motion and material are combined to form a conclusion as to what the sculpture is. Viewers try to categorise what they see. The clues are in the colours, movements, and sounds of the objects. You don’t have to make a decision as to what the object is, but you get a real feeling for what the object is about. The sculptures are not abstractions of human, animal, or organic forms, but creations of geometric origin; however, they have the essence of the organic, inorganic, and mechanical. The mix of the surreal with the essence of real substances is reassuringly familiar, but it challenges the audience’s perception. These sculptures cannot be physically touched, yet they prompt individual emotional response. It is this response that makes the sculptures believable to the observer.

A contact between two bodies. An intense sharing of information. A chemical cocktail in the brain.

The Kiss is an audiovisual work that explores a simple gesture acted out between two lovers. An intense coming together of two bodies in the digital space.

Ocean of Thought is a VR music experience made by Antti Jäderholm for the American electronic music artist Machinedrum, currently signed on the Ninja Tune label. It’s a magic carpet ride through the unconscious mind, guided meditation instructions included. Essentially, a WebVR music video Ocean of Thought uses 3D models, animation, and audio-reactive graphics to augment the aural experience of Machinedrum.

In Crowded with Voices, Anya Belkina and Scott Lindroth sought to combine their traditional approaches to visual art (painting and graphic design) and music (instrumental composition) with an exploration of recent technologies that have become part of the contemporary artist’s toolbox. The technological component is treated as a natural extension of traditional media. Visually, Crowded with Voices is inspired by the poetry of the Sufi mystic poet Mowlana Jalaluddin Rumi (1207-1273), whose 800th birthday is celebrated this year. The piece is intended as a tribute to Rumi’s teachings and art, which appealed to people of many faiths in his lifetime and united them at his funeral. Rumi’s message of love, tolerance, and acceptance is as relevant as ever in our era of high-speed connectivity, nuclear weapons, global pandemics, terrorism, and natural disasters. The central visual motif of the film is an image of a whirling dervish whose revolving motion is in harmony with the motion of the smallest particles in nature and the largest galaxies in the universe. The patterned imagery characteristic of Islamic art and textual fragments from al-Balad, the Qur’an sung by Ghalwash, are some of the other visual motifs used in the piece. Music and sound design are based on transcriptions of a magnificent Qur’an recitation by Raghib Mustafa Ghalwash. Melodic phrases from the vocal performance are played by a soprano saxophone accompanied by two percussionists and a piano. Such transcriptions inevitably involve mishearing: not only is a Qu’ran recitation not considered “music,” properly speaking, but also the performance on a saxophone inevitably indexes other musicians
(Coltrane, Coleman, Shepp, Dolphy, and others) whose work participated in urgent spiritual and political issues of their time.

Ideas and observations stemming from bicultural experience and the larger issues of identity, immigration, and globalization are central to Anya Belkina’s work. She fuses art with inquiry in the areas of biology, physics, and computer science. MOSTON, a 12-foot-tall suspended inflatable sculpture, embodies an internal conception of home and the cyberfusion of two geographically distant locales: Moscow and Boston. Its surface design of printed artwork and documentary footage projection explores visual and historical commonalities of the two cities, commonalities that are more easily researched, documented, and shared in the era of instant global networking. While MOSTONs three-dimensional form references ethnically specific artifacts, the visual appeal and conceptual ingenuity of matryoshkas reach audiences beyond Russia and the Russian diaspora. A universally understood symbol of sequential creation, these coys offer a fitting framework for evoking the concentric evolution of Moscow’s and Boston’s city armatures. The implied nestedness of MOSTON is also congruent with the layered mental construct of”home,” especially as perceived by individuals with multicultural backgrounds. Belkina describes the scale of the project as essential, not only because her motherland is the largest country in the world, with an impressive record of pursuing hopeless megalomaniac ventures, but also because “there is no place like home.”

MOSTON is a 12-foot tall suspended inflatable sculpture that embodies the cyberfusion of two geographically distant locales: Moscow and Boston. While MOSTON’s three-dimensional form references ethnically specific artifacts, the visual appeal and conceptual ingenuity of “matryoshkas” reach audiences beyond Russia and Russian diasporas. A universally understood symbol of sequential creation, these toys offer a fitting framework for evoking the concentric evolution of Moscow’s and Boston’s city armatures.

The Slow Art Gallery presents award-winning works from the 11th Japan Media Arts Festival. Since 1997, the festival has encouraged creation and development of art, entertainment, animation, and manga.

Grand Prize:
The House of Small Cubes by Kato Kunio

Excellence Awards:
Kaiba by Yuasa Masaaki
Kudan by Kimura Taku
Algor by Okamoto Noriaki
Dreams by Arai Chie
A Child’s Metaphysics by Yamamura Koji

The festival was chaired by: Aoki Tamotsu

Moonlight illuminates stone temple ruins deep in the jungle. Three sculpted jaguars, carved from stone, come to life and dance in the moonlight, creating an entrance to the Mayan underworld. In a subterranean vault beneath the ruins, a micro-opera is performed by two peculiar Lords of the Night and a serpentine Dragon in counterpart to an aria by a lovely Dragon Lady. In the final sequence, a skeletal Death God performs a comical but chilling dance of death, and our players subside into stone once again.

Equipment:
GDS drafting system color workstation

Normally, one does two things when using a traditional archive: select specific information categories from a large, general card catalog, and; walk to slide files or book shelves to obtain detailed information.

The Electronic Archive combines these steps, allowing one to spend less time searching for and retrieving information. The optical disk in this system contains 5,500 images of buildings divided into categories such as: location, type, date of construction, and view (interior or exterior). By touching specific words or images on a screen, the user selects specific buildings from general categories and can then immediately see that building.

This transmission manual is not an ordinary manual, but a prototypical teaching device that uses the power of computer graphics and computer-controlled video disks for the display of images, movies, text and sound.

The system combines the best qualities of books, movies and computers while overcoming their individual limitations. It is an interactive, branching system that allows the user to pursue any avenue of questioning he likes. More conventional systems are linear, offering only multiple choice alternatives. In this system, the branching is consistent throughout, permitting the user to move anywhere he likes, from a general level of instruction, to one of the finest detail.

Answers from the system may come in the form of projected video pages with images and text; or as more sophisticated moving pictures with sound, animation, and three-dimensional modeling.

Data is stored on an optical video disk as picture, text and sound. Interaction occurs through a touch-sensitive display screen that allows the user to simply touch a part of a picture or text in order to ask for more information and get it instantly.

@Conscious_ Dialectic is an Instagram account particularly based in the Inland Empire. It was created by a Chicanx (a Mexican/American/Indigenous womxn) who seeks to advocate for political and social justice for people with intersecting identities specializing in Chicanx,  Latinx, and Indigenous’ self-presentation on social media sites and their intersecting identity of race, gender, class, ethnicity, and sex. The social media account is based on the notion that consciousness is raised through dialogue. It incorporates perspectives from Paulo Freire, Victoria Santa Cruz, bell hooks, Gloria Anzaldua, and Audre Lorde. It includes posts that focus on understanding those who are marginalized through communication and why their marginalization came about. It takes on a Chicana Feminist perspective, critically analyzing social structures and empowering individuals.

The purpose of this social media account is to advocate, particularly, for womxn of color. It includes videos, text, audio, art, from individuals who seek to promote Woke Consciousness. @Conscious_ Dialectic seeks to promote social media activism and digital power through communication. The goal of Digital Power is to showcase digital work by women who emphasize gender neutrality, female identity, representation, and intersectionality. This account is for people with intersectional identities; it is made by a Mexican American (Chicana), queer, first-generation, lower-middle-class woman who understands the struggle.

Intersection represents the choices we make in life and who we choose to make them with. Looking through a window on a rainy day, we see a constant flow of cars choosing to go in different directions at an intersection while raindrops tell a similar but hopeful story. Intersection is about the cyclical nature of how man and woman unite then separate.

This piece also demonstrates a novel technique for animating computer-generated raindrops on any smooth surface. To develop Intersection, a unique formulation for creating several layers of organic masks was researched, developed, and applied. Adobe After Effects was used for all compositing, and Adobe Premiere was used for editing footage in the background.

Arina Melkozernova applies her fascination with the women surrealists to her chosen medium of 3D animation. She uses animation to make the invisible become visible. She is interested in visualizing mental space and spiritual connections in the quest for herself. Three-dimensional animation allows her to create symbolic models and surrealistic environments by extending and contracting time, space, and movement. She is not interested in technological wizardry for its own sake but rather as a medium to express her personal sense of displacement, identity issues, questions of otherness, and self-reflection. Through her art, she wants to impart this emotional condition to her audience. She looks for interactive structures to create a metaphor of mutual influence of the real and virtual world, human inner and outer space, actual and spiritual connections of people. She is currently teaching 3D animation and video at Arizona State University. The award-winning Self-Transparency, dedicated to painter Remedios Varo, incorporates aspects of the surrealists’ iconography that relate to the artist’s own experience. The film was nominated as best short film at the 2003 DAMAH Film Festival in Seattle and received a 2004 Individual Creative Excellence award by the National Broadcasters Association in the Graphic and Animation/Student category. Self-Transparency has been chosen by industry leaders as a premier example of digital artwork from one of the country’s best and brightest digital media artists

The Dreaming Pillow proposes transformation of everyday objects from mundane accessories to real actors. This approach is inspired by “Object Theater,” in which objects play a transformative theatrical role. The introduction of technological augmentation can imbue an object with an entirely novel set of functions, thus offering an enhanced interaction between the audience and the object. In this instance, the object in question is quite familiar, even banal: the pillow. We associate it with rest, sleep, well-being, and softness. The Dreaming Pillow offers several interactive scenarios that are representative of sensations generally associated with dreams, providing the audience an evocative oneiric journey.

Electric Eigen-Portraits shows the human face in a state of externally triggered resonance. Eight facial muscles are subjected to a simple on/off stimulation pattern, with a repetition period that varies gradually between 2 seconds and 100 milliseconds. At fast stimulation rates, the external input loses its precise control of the muscle contractions: resonance patterns appear which are primarily determined by the intrinsic mechanical properties of the facial muscle system. The face thus displays its own mechanical properties on the face itself, a self-portrait of the face, manifested by its Eigen-frequencies: an “Eigen-Portrait.” The soundtrack is a direct audio rendition of the electrical signals that are applied to the face displayed on the screen. Videography by Jeroen Meijer and Josephine Jasperse.

Electric Eigen-Portraits and Face Shift are two video works that both experiment with algorithmic facial choreography. These works turn a computer-controlled human face into a medium for kinetic art. Small, precisely controlled electrical impulses are employed to trigger the facial muscles of a live human being into rendering involuntary expressions. As the human face is controlled by a digital computer instead of a neural brain, it can be made to perform in ways that are often unusual and surprising.

In Face Shift, identical algorithms control both sides of the face but one is slightly faster, over time creating visual patterns shifting from symmetry to asymmetry. Two DECtalk voice synthesis machines are deployed for each side of the face, calling out the identification numbers of the activated muscles. Face Shift was originally presented as a live performance work. Videography by Ellen Zweig.

Electric Eigen-Portraits and Face Shift are two video works that both experiment with algorithmic facial choreography. These works turn a computer-controlled human face into a medium for kinetic art. Small, precisely controlled electrical impulses are employed to trigger the facial muscles of a live human being into rendering involuntary expressions. As the human face is controlled by a digital computer instead of a neural brain, it can be made to perform in ways that are often unusual and surprising.

Hdw: Bosch FGS 4000/ADO

I N S P I R I T may seem to be a story about light, but it is really more about people. People who enlighten us and complete us. The author, Arturo Paracuellos, likes to think that there are people whose presence lights us up inside. The work involves an interactive story with a small puzzle for the user to solve in order to move forward in the experience. The user plays a hero who has to find and then place a series of mysterious lights, thus illuminating their tiny world.

Arturo used the 3D tool Blender to model the simple character’s skeleton and create movements based on user actions. This resulted in 12 animations in a loop of about 2 to 3 seconds. These skeletal animations were exported to THREE.js to create the final on screen result. Arturo also used THREE.Audio and THREE.AudioListener as the base for creating immersive sound content for mobile, desktop, and headset experiences.

The Omi.MGX lamp is part of the Materialise.MGX design collection. The lamp, a single 3D-printed nylon object, is one of the first products to be produced and distributed directly from a selective laser-sintering machine. Its form, together with the natural flexibility of the polyamide, creates the impression of a biological mechanism. The versatile shape can be transformed, personalized, and manipulated to create different sculptural sensations, spaces, and moods.

Imaginario Inverso (Reverse Imaginary) (2015/2017) is part of Astrovandalistas’s ongoing investigation into the industrialization of our social imaginary through the commercialization of scientific knowledge. Through a series of workshops, talks, and exhibitions using conceptual prototyping, futurecasting, reappropriations, and micronarratives, Imaginario Inverso proposes different frameworks for reflecting on the geopolitics of technology development and the reinterpretation of technologies for more personal uses.

In 2014 and 2015, Astrovandalistas worked in the El Paso–Juárez border region building alternative communication networks. The first prototype was a reinterpretation of NASA’s laser communication technology (LLCD, LCRD, OPALS) that used a laser modem to open a high-powered long-distance channel across the sociopolitical distance marked by the border. While working on the laser modem, Astrovandalistas started to explore the possibility of using lasers to create other kinds of local networks and began to engrave rocks using a glyphic alphabet of their own design. During a series of public workshops, they invited people from El Paso and Ciudad Juárez to use their laser to carve their own future predictions for the region into rocks and later redistributed the engravings on both sides of the border.

During SIGGRAPH 2017, Astrovandalistas will open an office in the Art Gallery where they will engrave predictions about the future onto rock and city debris collected from the greater Los Angeles area. Part site-specific minimalist installation, part laboratory and workshop, the work is an open platform that invites direct participation and creates an opportunity for manifesting anxieties about the future.

I have been an artist since I was a child. I have been drawing and painting since I was 10, and I was even awarded several art prizes during my school years. I have no academic background apart from this. Prior to finishing primary school, my drawing teacher advised me to devote myself to the study of art, but my narrowminded parents discouraged me and didn’t support my idea, so I had to resign and attend secondary school.

Now I am a professional artist. I need to create. Art gives me power and releases my fancy. The only thing I do as a hobby is write poems in English from time to time.

I consider myself a fine artist who uses the computer as a pictorial technique. I feel truly free using my computer to create art. It offers me a creative world full of boundless possibilities.

I have used many software programs (including AutoCAD and 3DStudioMax). My main goal with the computer is to produce fine art, not high-tech design. I feel very comfortable working with several 2D and 3D programs like Photoshop, Corel, Painter, Bryce, and Poser.

The best explanation of my creative process in front of the computer is that there’s no fixed outline. Presently, I am particularly involved in surrealism and in quest of a new language for digital abstractionism.

I am usually very anarchic in my creative process. The most outstanding feature of my work is that it bears the sign of a spiritual perfectionist.

Webcam Art was created to visualize the result of my experience and communication through the Internet. Many interesting Web cameras are set up around the world, and some of them have controllers that allow viewers to pan and zoom from their browsers. A lot of scenery and people are viewable via Web cameras. Most of the cameras transmit small, poor-quality images, but with a stretch of the imagination, we can perceive beauty in them. This imagination motivated me to create pieces from Web cameras, which is why I might be called a net-travel painter.

If I were a “real” travel painter, people around me would stop to look at my paintings and talk about them. To know how the Web-cam owners feel about my work, I showed them my pieces and asked them to send back some comments. If a Web-cam owner wants a copy of the work, a poster-sized copy is sent.

I used original rendering software, SIC (Synergistic Image Creator), to create Webcam Art. SIC can enlarge the work to any scale. Sapporo was created from a Web camera on a northern Japanese island. One comment was: “A live camera sends just photographic pictures, so I think we never stop the time in a Web camera. However, it is a good idea to make a CG from a Web camera, because the scenery created by CG conveys a different feeling and atmosphere and makes appreciators have a desire to know real scenery.” (Dosanko site Web-camera administrator.)

This artwork is one of a series, Mutually Quoted Algorithms, created by Atsushi Kasao, Hitoshi Akayama, Naoto Hikawa, Mao Makino, and Yuichi Kobayashi.

In general, artists consciously or unconsciously quote many things from others’ works to create their original artworks. However, we have not found CG artworks that quote other’s CG-creation algorithms. We concluded that if artists had a CG creation tool that can quote others’ algorithms, they could create many types of expressions and make CG creation more fun.

For example, we have never seen CG artworks that quote algorithmically created works-what we call non-photorealistic rendering (NPR) algorithms. So we created CG artworks that quote NPR algorithms by using Synergistic Image Creator (SIC), our original algorithmic-image-expression tool. I used this tool to create Sapporo,” which was presented by the SIGGRAPH 2002 Art Gallery. The main feature of SIC is that modification of a few parts of an SIC algorithm can create totally different expressions.

The Mutually Quoted Algorithms series was completed in three phases. First, we decided that the common motif of the artworks was “human,” then each member of the creative group created an appropriate “human” SIC algorithm. Second, we each made sample artworks with our own algorithms. Third, each artist created final artwork by quoting other members’ CG algorithms and not sample artworks. The results showed many types of CG artworks that express something between abstract and representational art.

More information on SIC: www.dsn.t-kougei.ac.jp/cp/sic

This is a visual video poem touching upon the temporary nature of life. The sadness that is one and the same with the beauty all around us, from the blur of the freeway to the pear upon the plate. The smell of a certain type of air pollution still brings back poignant memories from childhood.

I have combined live-action imagery taken with a consumer-grade digital video camera (I enjoyed the low-tech look) with particle animation done in Maya, digital paintings, scanned oil paintings, and 2D animations done in Macromedia flash. This video is still in progress. I will continue to improve upon it

Special thanks to John Adamczyk for the soundtrack.

There are so many possibilities in digital painting that sometimes it is fun to do something very simple. This is my offering to that end, a digital still life of a pear.

This image was started from a 75-pixel-by-75-pixel bmp image of some nanotubes my brother Jonathan created as a scientist working at the Los Alamos National Laboratory and the University of New Mexico. It is part of an ongoing collaboration between us that involves exploring the links between art and science.

A simple game of touch, pleasure and joy. Luxuria Superbia is a colorful, musical journey made to fill you with joy. Exciting designs explode from your touch as you glide through playful stylized flowers. It’s all about the experience and the interaction. There’s twelve flower-like tunnels and a garden with a temple. In the garden, you select a flower by turning the dial. When you complete a flower the next one is unlocked. A flower always starts out colorless. But when you touch it, color fills the tunnel. Stay in the glowing flower as long as possible! Play slowly and gently to get a high score. Just pushing through as fast as you can will result in failure. The game wants you to take it easy and be playful. The blush you cause to a flower imbues the garden too. For each flower, there’s a column in the temple. Time spent in a blooming flower makes its column grow. The garden starts blank, just like the tunnels. But over several journeys, it flourishes with color. Bring color to the flowers, bring joy and beauty to the garden!

Summary

Deconstructing Whiteness is an interactive performance which examines racial visibility through AI recognition systems. The artist resists her own visibility as a ‘white’ person by utilizing a performative behavior. The underlying structural racism is revealed as well as our own agency to act upon and sabotage the machinic vision.

Abstract

Deconstructing Whiteness is an interactive AI performance. It examines the visibility of race in general, and ‘whiteness’ in particular, through the lens of AI technology and reveals the underlying racial constructs which compose the technological visibility of race. The artist uses an off-the-shelf face recognition program to resist her own visibility as a ‘white’ person. By utilizing a performative behavior she slightly changes her facial expressions and her hair style and modifies the confidence level by which the machine recognizes her as ‘White’.

Face recognition algorithms are becoming increasingly prevalent in our environment. They are embedded in products and services we use on a daily basis. Recent studies demonstrate that many face recognition algorithms reflect social disparities and biases which may harshly impact people’s lives. This is especially true for people from minority and underrepresented groups. Scholar Paul Preciado claims that if machine vision algorithms can guess facets of our identity based on our external appearance, it is not because these facets are natural features to be read, it is simply because we are teaching our machines the language of techno-patriarchal binarism and racism. However, it is important to remember that these systems are not ‘things-of-themselves’; there is no reason for them to be outside of our reach. We are able to intermingle with these systems so that we better understand the coupling between the information and our own bodies. This entanglement, as seen in the performance, reveals our own agency and ability to act.

In Deconstructing Whiteness the ‘White’ and ‘Non-white’ dichotomy is ditched in favor of a flow of probablities which are meant to resist, confuse and sabotage the machinic vision and its underlying structural racism.

The performance can either be carried as a live online performance, a video documentation or a photographic collage.

Summary

The artist in this performance is strapped to an electric chair. Her face is constantly detected by an emotion recognition AI system. As long as she is detected as ‘Happy’ she is safe. However, if any other emotion is observed, she receives an electric shock to both her arms.

Abstract

Can we look at a person’s face and determine how they feel? AI emotion recognition systems are designed to detect faces and return confidence levels across a set of emotions such as anger, contempt, disgust, fear, happiness, sadness and surprise. Such systems already operate in our environment and might have the influence to seriously impact our lives. In the live performance Don’t Worry, Be Happy, the artist is strapped to an electric chair. Her face is constantly detected by an emotion recognition AI system. As long as she is detected as ‘Happy’ she is safe. However, each time any other emotion is observed, she receives a non-lethal, 2-second long, electric shock to both her arms. During the performance the artist changes her apparent behavior in order to free herself from the ‘punishment’ that the AI system delivers. Yet, under the threat of getting shocked, for how long can she perform this exaggerated facial expression so that the machine continues to ‘read’ her as ‘Happy’?

The apparatus presented in this performance utilizes the electric chair as a reminder of the use of new technologies as instruments of the law. Such tools initially appeared as legitimate solutions and was later own understood as problematic and inhumane. The performance aims to remind the viewers that we are not powerless when we are confronted with AI algorithms that are looking at us. The artist resists the emotion recognition system by faking a smile. This performative engagement points out to a future of a post-algorithmic society in which we change our behavior in order to align it with algorithms in our environment.

What is the relationship between our physical body and our digital one? What kind of new social interactions can be explored while using digital platforms? My practice focuses on new media such as video games, virtual worlds and artificial intelligence and their impact on our social environment and our culture. In my work I invite viewers to explore aspects of their own identity as it is seen through the lens of new technologies. I create large scale, immersive installations and performances where I utilize elements of new media. Viewers acquaint themselves with these technologies and examine new information which is revealed through the interaction. Inspired by ideas of relational and new aesthetics, it is my goal to create spaces where we can intermingle with the machine and better understand the reciprocal agency of both humans and machines to act.

The proposed project relates to the theme of the conference by examining and demonstrating the capabilities and the limitations of AI emotion recognition systems. It specifically focuses on the use of new technologies for punishment and order by the hand of law enforcement. These new tools may initially seem as legitimate and humane and later on are revealed as extremely problematic. The project points out to a future of post-algorithmic society by reminded viewers that we not powerless when we are confronted with such algorithms. We have our own agency to resist and act upon these algorithms. The piece suggests that performative engagement is an active tool which enables us to alter the result of AI recognition algorithms.

Live Feed is a live performance in which I was sitting on a rocking chair with a fake baby in my arms and a VR headset covering my eyes. On the screen behind me, my avatar was ‘live’ inside a similar looking room in the virtual world of Second-Life. The avatar was sitted on a similar chair with a fake baby and a VR headset. On the screen behind her is another screen with an image of my real self. This goes on and on and on as one figure immersed in VR watching the world of the other. ‘Live Feed’ is intended to raise questions in regard to the medium of VR worlds and VR headsets which are being increasingly positioned as a household commodity. What does it mean to be a mother in the time of virtual reality? Moreover, what does it mean to be human in this age? What are our relationships to one another as people when we interact with each other through this technology? And which are the values that our children grow to learn in this environment?

In the tradition of famous old monster makers. I employ a combination of high technology with more traditional methods and last minute improvisations.

The purpose of the monster as in every monster is to rise and disobey its maker.

“We made our monster out of parts that don’t matter”: An old M & M, fish fins and a cow eyeball, in this case. It serves as a deformed light box as well as a horror movie home science project. It can also be perceived as romantic or sublime if looked at under the correct light with the right music in the background.

World Eco-tope is an intuitive tele-presence art work that enables audience to feel distant country’s real time weather closely. There is no need to utilize expressions of letters, weather symbols, or voice of weather forecaster. They emphasis on “intuitiveness” to design it. Any audience from children to elderly can enjoy the weather of distant countries, including the ones they do not even know of.

The installation owns two features: direct touchable manipulation of designating the location by the globe and comprehensive understanding of the weather by the biotope. As for the former, circle-shaped variable resistor and line-shaped one are embedded to the bottom and bow of the globe respectively. As for the latter, they reproduce the weather in the biotope by controlling three devices so as to reflect natural phenomenon including floating water down to the earth, changing lightness by sun or moon, and trees blown by the wind.

Dream Clanger explores the aesthetics of machine learning in sport. Using anonymous player and crowd data captured during the 2017 AFL Round 23 Swans v Carlton game, Dream Clanger re-stages the drama and flow of a match in its entirety through machine learning networks. In statistical terms, the word ‘Clanger’ refers to a turnover or a silly mistake made by a player in an AFL match. The criteria for each player’s usefulness is defined wholly by the data they generate during the game— AFL players are tracked using micro wearable units that include GPS and accelerometers. The amount of data generated from these devices in a given game is immense; every movement is tracked, stored and interpreted in an effort to understand performance and mitigate injury. Dream Clanger is a collaborative project by artist Baden Pailthorpe, computer scientist Charles Gretton and 5th-yearcomputer science student Rhys Healy at the Australian National University. It relates to the SIGGRAPH Asia 2019 theme of ‘deep dreaming’ by positioning the practical applications of AI alongside its artistic possibilities in the context of elite sport.

This image was produced with polynomiography, which I have defined as: “the art and science of visualization in approximation of zeros of complex polynomials, via fractal and non-fractal images, created using the mathematical convergence properties of iteration functions.” An individual image is called a “polynomiograph.” Working with polynomiography software is comparable to working with a camera or a musical instrument. Through practice, one can learn to produce the most exquisite and complex patterns. These designs, at their best, are analogous to the most sophisticated human designs. The intricate patterning of Islamic art, the composition of Oriental carpets, or the elegant design of French fabrics come to mind as very similar to the symmetrical, repetitive, and orderly graphic images produced through polynomiography. But polynomiographic designs can also be irregular, asymmetric, and non-recurring, suggesting parallels with the work of artists associated with abstract expressionism and minimalism. Polynomiography could be used in classrooms for teaching art or mathematics at every level, from elementary school to university, as well as in both professional and non-professional situations. Its creative possibilities could enhance the professional art curriculum.

The “polynomiographer” can create an infinite variety of designs by employing an infinite variety of iteration functions. The polynomiographer then may go through the same kind of decision making as the photographer: changing scale, isolating parts of the image, enlarging or reducing, adjusting values and color until the polynomiograph is resolved into a visually satisfying entity. Like a photographer, a polynomiographer can learn to create images that are esthetically beautiful and individual, with or without the knowledge of mathematics or art. Like an artist and a painter, a polynomiographer can be creative in coloration and composition of images. Like a camera, or a painting brush, polynomiography software can be made simple enough that even a child can learn to operate it.

Handwoven on a floor loom, Untitled Wall Hanging builds on a long tradition of textiles and technological innovation. By weaving elec­tronic components into a large, flexible circuit, the fabric extends the ways in which cloth is able to communicate. Textiles have an extraordinary ability to impart meaning through a material language of structure, design, fibre substances, and the history of wear. The multiplicity of readings can include social, political, emotional, and intellectual content, which can become even more complex as en­vironmental and human experience invest the surface with evidence of use.

Untitled Wall Hanging consciously considers cloth as an evolving form of communication. An ultrasonic sensor responds to the loca­tion of the viewer, triggering an LED display that presents images that shift between traditional weave structures and narratives related to the venues the piece has visited. The texts build over time, making reference to the site of production in Montreal, to its gallery installa­tion in Lincolnshire, England (where it was first displayed in a former seed warehouse) and its most recent iteration, the exhibition at SIGGRAPH 2006 in Boston. This integrated and animated surface triggers both an immediate change, and at the same time recalls its own personal history, opening a complex space for multiple interpretations.

Asa frequent traveler, I used to purchase small souvenirs as mementos. When the accumulation of stuff became overwhelming, I decided to stop buying things and capture an image that I would take home and use in digital image explorations. This has proven to be an interesting and fun exercise, and it extends the enjoyment of my travels. While manipulating a scan of an actual sea grape leaf from Miami, a landscape began to form and the notion of trees and leaves making up a landscape became a metaphor for the composition. The word endogenous means “developing inside the cell or body,” and the composition suggests this organic process.

Rhumb Lines is a playful, immersive, cinematic, interactive video installation chat explores how we think we know where we are in time, space, and history. It invites viewers to navigate a mesmerizing series of interlinked videos using location data and scanning the horizon to seek out hidden co-ordinates and signs of the River Tyne’s magnetic attraction for artists over the centuries, translated into beautiful Red One super-wide-screen images. Viewers scroll a map generated from sonar-scan data, with the GPS tracks overlaid to trigger corresponding videos. They scrub through the cinematic widescreen videos seeking journey intersections, and the frames of video are graded to look like archive paintings. Device control creates an apparent suspension of “real” time that could be staged on any waterway in the world with sonar-scan survey data.

I was brought up by the sea, and the UK is an island nation with a significant maritime history. The River Tyne was the first place to have a Life Brigade, and subsequencly painted narratives of the sea turned from wreckage and war to the saving of lives. I began to imagine a point where all possible journeys in time and space intersect in the river’s mouth. Using daymarks, lighthouses, and modern instruments, I set out to explore it. I’m fascinated by navigational history, theory, and technology ancient and modern, and the logical outcome of following a rhumb line. After caking an initial bearing, one proceeds along chat bearing, without changing direction as measured relative to true north. An infinite spiral is traversed, because the earth is round.

With the above in mind, I looked at local archive paintings of the river and began colourgrading video to resemble some of the paintings. I then experimented with reverse zoom, filming from vessels, panning and tilting to keep the piers at the river mouth in centre frame, but it is not possible to achieve this effect manually or in post-production. We adapted software to make GPS control the camera zoom, matching the speed of the vessel precisely using Red One digital technology. GPS tracks were recorded during filming, day and night.

Beginnings and Now

At first, I was fascinated by the idea that a computer could be used as a tool to create art. As I quickly learned the many aspects and power of this machine, I started to focus on the computer’s specific attributes. These attributes, such as a database, answered some of my long term “what-if” art goals and inspired me to explore. That was in 1980.

One of those “what-if” wishes was to show the hundreds of line drawings tucked away in 71, completed-to-date, visual journals. Creating an ongoing database of the many drawings in these visual journals parallels the growing population.

Communication among people, diverse and alike, are at the root of my work. With migration, immigration, integration, and population growth increasing daily, understanding among people of the same and diverse backgrounds becomes paramount. Placing drawings under different transparent national flags puts them in a global context.

The two examples shown span two decades of digital work. The patterned face was created around 1982 on a Norpak IPS 2 computer, the first computer I used and the one learned on. The Iris print, Tic Tac Toe, is from my American Favorites series. This drawing from my journals is incorporated with a ghost of the American Flag.

Beginnings and Now

At first, I was fascinated by the idea that a computer could be used as a tool to create art. As I quickly learned the many aspects and power of this machine, I started to focus on the computer’s specific attributes. These attributes, such as a database, answered some of my long term “what-if” art goals and inspired me to explore. That was in 1980.

One of those “what-if” wishes was to show the hundreds of line drawings tucked away in 71, completed-to-date, visual journals. Creating an ongoing database of the many drawings in these visual journals parallels the growing population.

Communication among people, diverse and alike, are at the root of my work. With migration, immigration, integration, and population growth increasing daily, understanding among people of the same and diverse backgrounds becomes paramount. Placing drawings under different transparent national flags puts them in a global context.

The two examples shown span two decades of digital work. The patterned face was created around 1982 on a Norpak IPS 2 computer, the first computer I used and the one learned on. The Iris print, Tic Tac Toe, is from my American Favorites series. This drawing from my journals is incorporated with a ghost of the American Flag.

Kalyian was inspired by the blind princess from the island of Samar, a freedom fighter and founder of the Philippine martial art Kali. Blind since birth, this legendary princess possessed an extraordinary sixth sense and sensitivity towards energy and life forces that she could not be defeated by even the fiercest of warriors. Kalyian is a modern-day personification of the female warrior spirit. It depicts the timeless battle of women, whose inherent warrior qualities are first fought, then realized, and eventually developed into harmony with the total self. It is the same force that gives women of this nature, the strength to survive and succeed. Kalyian combines technology with techniques drawn from Kabuki Theater, dance and Kali to depict both a primordial and futuristic sensibility. In the tape, Kalyian encounters a figure clothed in black, face concealed. Narrow beams of light cut across a darkened space.

Like two cats, they move about, appearing and disappearing into the shadows. At one point, the figure in black eludes her by leading her into a maze. As soon as Kalyian enters the maze, the space becomes alive; a montage of images bombards her. She responds instantly and attacks. Eventually, she becomes aware she is fighting her own fears, anger and aggression. The more conscious she becomes of this, the less fighting and destruction occurs. From this realization, Kalyian transforms her weapon into a flute to communicate through music to the figure in black. The figure responds to the music through dance. Image after image of the figure in black join in, moving together in harmony, they become one. Then, the figure reveals to Kalyian, her past actions and moments of self-realization. More and more, Kalyian recognizes parts of herself before her, until once again she is face to face with the figure in black. At this point, Kalyian realizes her subconscious has been her guide, leading her into self-realization and eventual transformation into a higher form of awareness. Kalyian has resolved her internal conflicts and is in harmony with herself

A study of motion visually displayed as light. Movement is electronically captured with the quality of charcoal on paper. Rhythmically, the image as energy expands, reaches a summit and then disappears. Momentarily, traces of its path are perceptible.

I’m a digital sculptor, using metal and glass to create abstract geometries in space. This work explores order in space: tensions between inside and outside, the point at zero and the point at infinite distance, how the dimensional axes can be alike and different. I got interested in these things as an undergraduate in mathematics, wanting to cross over from formal abstractions into working with physical shapes, and sculpture gave me the way.

I’m often asked whether these pieces are based on logic or intuition. If this is a multiple-choice question, it’s not an easy one: let’s say that my intuition operates with mathematics at the back of its mind. The process is pure analog. I push things with my hands until they look good to my eyes, but the results show that my creative engine is inextricably fused with geometrical intuition. My work is to explore and extend the fertile region between sculpture and mathematics.

I am often asked whether my designs originate in logic or intuition, and the answer must be both: my intuition is guided by logic, and it seeks order and symmetry. The sculptures come into existence as visualizations, which are translated into virtual 3D models. They enter the physical world by various computermediated manufacturing processes (in the case of these pieces, 3D metal printing). Lastly, they are hand finished by assembling, burnishing, or any other craft methods that may be required.

Thus the process moves backward in history: from imminent idea to high technology to hand-finished metal. Because the originals of my work are data, they transcend location, medium, and time, and they move us away from the history-bound, privilegedoriginal model of art making. Art can now take its value from its inherent nature without reference to time, place, or artificial scarcity.

We are standing at the Gutenberg moment for sculpture, where to be digital is to be nameless yet immortal. These designs honor the emergence of sculpture as a digital medium, sounding a timeless note of purity and symmetry at this pivotal moment in the history of art.

The material of these sculptures is a sintered steel-bronze composite metal manufactured by Ex One’s Prometal process, then hand-finished in my shop. Software includes Rhinoceros, Mathematica, Surface Evolver, Materialise Magics, and Perl scripts written by me. The Gyroid, Schwartz surfaces and the Snub 24-Cell are purely algorithmic; the remaining three designs are non-computed (“handmade” CAD models).

A cube and octahedron in their dual positions, given a twist and expressively formed.

I’m a digital sculptor, exploring art and mathematics by means of metal and technology. My work studies order in 3-space: inside and outside, the point at zero and the point at infinite distance, how the dimensional axes can be alike and different. It’s a road map to how we live in the (apparently) Euclidean world.

I’m often asked whether these pieces are based on logic or intuition, and I must answer “both.” My intuition is shot through with love of logic and order. Studying hasn’t done it any harm either. I once worked with a California psychic who would say: “My inner child has been around for years, and she knows all the tricks,” and I’d say the same: my intuitive/creative germ has benefited from a lot of mathematical education.

My designs exist first as ideas, then as CAD models, and they enter the physical world as parts produced by various CAM processes. Finally, they’re finished by hand assemblage, painting, chasing, and whatever craftsmanly methods are required. So the process moves backwards in history, from virtual idea to hand-finished metal. Considering the many technologies I use (laser etching, laser cutting, 3D printing, and so on) the actual experience is surprisingly analog: much of the time, I simply push things with my hands until they look right to my eyes.

CAD/CAM is a young, crude, difficult, under-used medium as I write this, but in it is the germ of an artistic sea change. It brings sculpture into the company of poetry and music, among the eternal media. Because the originals of my work are data, they transcend location, medium, and time. Ultimately (in my lifetime I hope) art sculpture will be manufactured on demand, at the size, medium, and price point requested by the viewer. Far from threatening the value of sculpture by eroding their scarcity, I believe that this will allow them to reach their natural audience, so that they can be owned by everyone who likes them. We’re standing at the Gutenberg threshold for sculpture: it will soon be affordable, ubiquitous, and, like everything else that shares those properties, digital.

Apart from the great historical moment, I hope you’ll enjoy this piece for itself. I’m a full-time artist supported by sales, and in the end it is all about enjoyment I found pleasure and tranquility in designing and making this object, and I hope you find pleasure and tranquility in observing it.

My work focuses on relationships between the scientific and emotional, grotesque and beautiful, micro and macro and life and death.

When my grandmother died, I became fascinated by her cherished possessions left behind. Each object acquired a poignancy that had previously not existed. Although void of life, her house took on the role of a museum of personal antiquities and a proof of her existence. I held onto the memory of my grandmother by recording as many objects and traces as I could; scuffs on the carpet, tea stains, strands of hair left in her comb.

In ‘Heavenly Bodies’, a scanning electron microscope was used to visualize my grandmother’s gallstones in minute detail. Each tiny stone was increased in scale and exhibited glowing in a dark room, resembling meteorites. Materials within the body are likened to materials in space. Like some meteorites, gallstones grow through a gradual process of accretion. They could also be compared to human pearls as like a pearl they can contain calcium carbonate, yet they are generally viewed as grotesque. The re-appropriation of these forms perceived as mundane to the outsider, prompts questions about the nature of beauty and human perception.

Since this experience, my artwork has been heavily influenced by traces. Although the human is often absent, the object left behind acts as an anthropomorphic portrait that, like forensic evidence, tells its own story. However, this trace harbors its own secrets and is sometimes not what it seems. Objects that hold a personal resonance are raised to the status of relics despite their interpretation as mundane by the outsider. The re-appropriation of such objects gives them new life and meaning.

Whilst taking on the importance of a relic, the subject is treated in a similar way to a scientific specimen and made to look sterile despite its emotional value. It is not only dehumanized in this way but makes us question our preconceived views of such things conditioned into us from infancy.

As well as a scientific aesthetic, I employ scientific methods. Electron microscopes measure the topography of the specimen. Like the Hubble space telescope, I use a process of collage to gather data and construct a complete image. This method allows me to accurately and intricately record an object. My ‘specimen’ is excessively and obsessively recorded. It is both cherished and violated in its study; a victim of voyeurism and the gaze.

Summary

Produced during the Leaning Out of Windows project (an interdisciplinary dialogue between artists, scholars and physicists) this large-scale collage is composed of ~130,000 fragments extracted from photographs of a particle accelerator facility. The boundaries of segments and final composition are determined by unsupervised clustering where patterns are grouped by similarity.

Abstract

This work was produced in the context of the Leaning Out of Windows project, where artists, scholars and physicists are placed in collaborative dialogue in the development of new artistic works. One of the overlaps between experimental particle physics and my own work is the deconstruction of material in order to inspect the nature of objects and their constituents. The source material for this work is a set of photographs of the experimental apparatus of the TRIUMF particle accelerator. The emphasis of the photographs is the beam-lines that facilitate the transport of various particles in the apparatus, which resembles a industrial factory. The various exotic particles are made through acceleration, filtering and collision. I often work with photographic imagery and machine learning methods to question the relations between objects and contexts, reality and imagination, and realism and abstraction.

This image is composed from ~130,000 image fragments extracted from 100 photographs taken at TRIUMF. Image fragments are constructed by the algorithmic selection of areas of somewhat uniform colour. The edges of these fragments are an emergent result of the interaction of a segmentation algorithm and the photograph. The image is constructed by collaging these fragments where placement is determined by grouping fragments, according to colour and orientation, using a self-organizing machine learning algorithm. The macro-structure is then also an emergent result, this time following from the interaction between the self-organizing algorithm and the set of photographic fragments. While I have used this fragmentation process in other works, it was my exposure to Karen Barad’s concept of “cutting together/apart”, that solidified by thinking on objects as resulting from the creation of boundaries through (inter)intra- action. This conception aligns very closely to what I’ve been thinking about as Machine Subjectivity that is enabled by imagination as boundary-making and a critique of classification.