COLLISIONcollective

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

Logitech M-M35 / Computer Mouse (from the series Alien Civilization)

Archival pigment print on fiber-based paper
2013
Logitech M-M35 / Computer Mouse (from the series Alien Civilization)

I completed this series in 2013. It features 42 colour photographs of parts taken out from various devices, which we use everyday in our homes. The photographs were taken with 4x5 analog view camera on color transparencies.

See more at http://www.klotzekstudio.com/Alien01.html

Hoover Spirit S3637-050 / Vacuum Cleaner (from the series Alien Civilization)

Archival pigment print on fiber-based paper
2013
Hoover Spirit S3637-050 / Vacuum Cleaner (from the series Alien Civilization)

I completed this series in 2013. It features 42 colour photographs of parts taken out from various devices, which we use everyday in our homes. The photographs were taken with 4x5 analog view camera on color transparencies.

See more at http://www.klotzekstudio.com/Alien01.html

DreamDrops

Felt, paper, computer with custom software, Kinect interface, video projectors, speakers
2014
DreamDrops
DreamDrops

DreamDrops is an interactive fiber/video installation where viewers can interact with felt sculptures, brought to life as a colorful, immersive video and audio environment.

Three DreamDrops are constructed with felt and paper. The felt gives them the form, and the paper provides a window into the virtual words. The Drops are suspended by their “tails”, from the ceiling at three heights. The red Drop is hung the most high, the blue Drop is lower, and the green Drop hangs the lowest.

As visitors walk among the DreamDrops, they can see the three animated worlds. The red world looks like clouds at sunset, the blue world looks like the depths of the oceans, and the green world looks like a lush, tropical forest. The three worlds are populated by “boids”, a flock/school of animated critters that dash about in small groups.Visitors are invited to poke their heads up into DreamDrops. They’ll see bursts of color and dynamic sparks triggered by their motion which is detected by a Microsoft Kinect sensor. People can interact with the boids, who will playfully investigate the human visitors, calling out with a futuristic wail. A hand clap gesture will trigger a colorful tunnel effect that will transport the visitor to other worlds.

With their installation, Rob and Kristina are exploring the threshold between personal space and public space in the technology era. The installation allows people to experience a private environment of light and color in a very public arena.

Several open source software projects were used in this installation:

  • OpenFrameworks - an open-source C++ library for creative coding
  • ofxKinectNui - Sadam Fujioka’s addon using the Microsoft Kinect
  • ofxMSAFluid - an addon for solving and drawing 2Dfluid systems by Memo Akten
  • ofxBoids - a flocking motion addon for by Satoshi Okami

Rob and Kristina would like to thank Jennifer Lim for her help with this installation.

See video

low_resolution_wormhole

Laser print on paper
Artwork by collisi1

Blank sheet of paper scanned and printed continuously.

See video

The Drivers and the Cameras

digital prints on photo paper
2013
The Drivers and the Cameras
The Drivers and the Cameras
The Drivers and the Cameras
The Drivers and the Cameras
The Drivers and the Cameras
The Drivers and the Cameras
The Drivers and the Cameras
The Drivers and the Cameras
The Drivers and the Cameras
The Drivers and the Cameras
The Drivers and the Cameras

The Drivers and the Cameras is the third part of The Google Trilogy: a project about the relationship between humans, power and technological errors.Each Google Street View car is equipped with a Dodeca 2360 camera with eleven lenses, capable of photographing 360 degrees. Afterwards the photos are assembled, creating a stereoscopic view, and an algorithm developed by Google automatically blurs the faces of people to protect the privacy of those accidentally portrayed. To create this series of photographs, I went looking for faces that had escaped Google Street View’s algorithm and the eleven portraits I isolated immortalize the drivers of the Google car. The driver becomes a sort of phantom power; he appears where he shouldn’t be and his presence escapes censorship. His face is the symbol of an error yet at the same time shows a human side and, perhaps, the limits of technological power.

 

http://emiliovavarella.com/works/google-trilogy/driver-and-cameras/

Essais de Connexion

iPod, video, paper
2011
Artwork by [user-name]
Artwork by [user-name]

This project consists of a prayer candle that runs on the internet. The flame changes shape, size, and tilt based on the collected data of network speeds, network latency, and latitude/longitude measured continuously with a cellphone during one hour in the Sacre Coeur Cathedral in Paris, France.  

Mortality Shmortality

oatmeal box, paper, glue, led light and video-player
2010 - 2012
Artwork by [user-name]
Artwork by [user-name]

A diorama that has the illusion of little characters moving around inside it: a scientist presses a button on a giant ray-gun that brings to life a monster on a slab.  When the monster awakes the overjoyed scientist comes down from his machine to greet him but the monster tries to kill him. The scientist narrowly escapes out the doorway.  The monster then looks longingly back at the slab and goes to lie back down. As soon as he goes lifeless the scientist reemerges at the controls and turns the ray gun back on starting the entire loop over.  The whole scenario lasts about 1 minute.

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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