COLLISIONcollective

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*                        For engineers that moonlight as artists and artists that moonlight as engineers                                         *
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Glitchometry Stripes

Inkjet print mounted on lightbox
2014
Daniel Temkin: Glitchometry Stripes

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

Dirty Pixels (Looking)

Inkjet print on archival paper
2014
Dirty Pixels (Looking)

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

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

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

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

Dancer

Frame, matte, electronic ink display and circuitry.
2014
Dancer

Dancer is from my new lineograph series created on electronic ink screens. The screens emit no light and are entirely reflective, mimicking the aesthetic of an ink drawing, except with movement. The screen also can be touched on and off, displaying hundreds of stills.

This series explores human artistic expression, essentialized within the simplicity of line drawing.

See video

Me on PHP

inkjet prints, foamcore
2013
Me on PHP by William Tremblay

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

Stuxnet

Ink on sintra, QR codes, YouTube videos
2012
Stuxnet
Stuxnet @COLLISION18:present
Stuxnet @COLLISION18:present

 

DataSpaceTime utilizes recontextualized data from a wide variety of publicly avaialble sources embedded in QR code based images and installations to produce interactive multimedia works. Downloading our custom mobile app (DST Decoder) onto a mobile device or iPad enables you to interact with our current body of QR code based work. Our server stores the scan histories of our QR code based pieces, allowing us to track how people are interacting with the work.

Stuxnet was a computer virus of unverified origin targeting computer systems containing Siemans software, likely intended to target the Natanz nuclear centrifuges in Iran's Uranium enrichment program. It has been speculated, but unconfirmed, that the worm was developed by U.S. and Isreali entities.

Our Stuxnet is an archive of YouTube searches for "Stuxnet" and "Cyber Warfare" gathered on June 24, 2012 when this computer virus is thought to be programed to "expire" or erase itself from all infected machines. The QR codes that make up the image in this piece are scanned with the DST App and return YouTube videos to the mobile device.

Untitled_HDR

Inkjet print
2011
Untitled_HDR
Untitled_HDR installed

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

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

Wonder

proximity sensor, 54 servo motors, Arduino microprocessor, MDF panel, acrylic, house paint, spray paint, ink and graphite
2011
Artwork by [user-name]
Artwork by [user-name]
Artwork by [user-name]

Wonder (2011) is an interactive, kinetic sculpture that is brought to life by the movement of others. From a distance, the white dots appear to be a constellation, and the work remains static. As a person approaches, the motors suddenly come to life and the dots slowly coalesce to spell the word 'wonder'. However, much like a pointillist painting, the word is illegible when viewed up close. Because of that, it ideally requires two or more people to participate. The person approaching or ‘wondering’ becomes the artist/performer, physically bringing the work to fruition with their movements. Onlookers are given the ability to see the ‘wonder’ in the making, both literally and metaphorically. The typically passive act of looking becomes a physically active performance, and people in the vicinity are able to watch and be entertained by the spectacle of it. It is the sculpture's playful nature that really interests me. Whether or not viewers ever discover the word ‘wonder’ within the work is not important. Meaning is constructed and elaborated collectively, through a shared and hopefully memorable experience. 

The Big Dripper

eight oscillating pumps, tubing, sink, wood, steel, UV LEDs, Arduino Pro microcontrollers, electronics, water, fluorescein dye
2011
Artwork by [user-name]

The Big Dripper is a concept based on Harold Edgerton's Piddler. Edgerton's Piddler, also known as a "Time Fountain", uses a stroboscopic light source to highlight individual drops of water in a constant stream of liquid. With the strobe off, the stream looks like a solid cylinder of falling water. With the strobe on, and correctly synchronized with the actuation of the pump, the individual drips of water that compose the stream are exposed. The drips appear to hang in space as if frozen in time. By modulating the phase relationship between the frequency of the pump and the frequency of the strobe, the device can generate optical illusions of motion. For example, the individual drops can appear to fall slowly, or even crawl upwards.

The Big Dripper was featured on Hack A Day!

http://hackaday.com/2011/03/11/water-droplet-sculpture-using-leds-and-arduino/

net.2.2

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

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


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


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

net.1.2

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

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

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

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

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