COLLISIONcollective

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net.2.2

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

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


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


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

net.1.2

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

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

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

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

Research Code

Digital giclee print
2010
Artwork by [user-name]

Nobody ever said that science was easy. Solving the mysteries of science requires hard work. While there may be one "ah-hah" moment---where the true form of the problem is revealed---that moment is always preceded by countless hours of careful research.
In the course of my own dissertation research, I consulted several books and hundreds of academic papers with over 5000 pages in total. Distilling this knowledge and adding my own minor contributions still led to 400 new pages of text and 600 pages of computer code.
This image represents the paper equivalent of that work. Each revision of each page of code that I wrote appears on one page in this image. In addition, the code on the pages was used to create the flowing forms in the image. The fluid-like cascade of paper reminds me of feeling overwhelmed at the volume of information that had to be considered.

MOONPENNY

plywood, digital print on vinyl, booklets, chains
Artwork by [user-name]

MOONPENNY is the code name for a series of structures at the US satellite and communications base at RAF Menwith Hill, near Harrogate in Yorkshire: part of the Echelon global electronic surveillance system run by the NSA. Menwith Hill is a *listening* station, as opposed to a broadcast station (such as the Lincolnshire Poacher number station) in the global spy network. It uses sophisticated equipment to monitor various forms of communication (phone, email etc), searching for particular targeted words and phrases. Set in the heather speckled moors of northern England the installation contains numerous geodesic radar domes (called "radomes") as well as a series of interconnecting roads and a central set of buildings. MOONPENNY is the rather poetic designation for the radio dishes contained within these radome structures.

MOONPENNY (the work of art) is a vector rendering of the Google maps aerial photograph of the Menwith Hill site. In keeping with several earlier works it addresses issues of secrecy, communication, forbidden territories, and the natural environment. Like much of my work MOONPENNY is also an investigation of mimesis and abstraction: the point at which a reproduction becomes sufficiently divorced from its referent as to become an object on its own. Finally, MOONPENNY comes with its own miniature library: print-outs of text and images culled from the internet and held in place by chains that mimic those of medieval libraries. I enjoy the humor of reversing the trajectory from print-to-e and of making copies "precious"; it does also make browsing rather easy.

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