COLLISIONcollective

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*                        For engineers that moonlight as artists and artists that moonlight as engineers                                         *
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terra cibus no. 35: sun dried tomato

Photograph
Artwork by collisi1

What’s in our food?What’s the difference between a bird’s-eye view of a remote vegetable crop and a microscopic swath from a pineapple leaf?

How distinct is a pile of table salt from miles and miles of icebergs?

As a food lover and a photographer, I answer these questions visually. Using scientific laboratory photo equipment, I journey over the surfaces of both organic and processed foods: my own favorites andAmerica’s over-indulgences. The closer the lens got, the more I saw food and consumers of food (all of us) as part of a larger eco-system than mere sustenance.

This particular combination of science, photography and food has never been explored before. I am using equipment that is traditionally used for science and academic advancement for art. Turning that notion on its head is exhilarating for me.

Connecting people and their food consumption is something that I hope to achieve by empowering viewers to reconsider how they think about their food, using art, rather than a plate and spoon. In this day and age when there’s so much rhetoric about food science, food journalism, food history, food how-to, what about a visual survey of what we all need, want and love (3-5/times/day)?

terra cibus no. 32: shrimp tail

Photograph
terra cibus no. 32: shrimp tail

What’s in our food?What’s the difference between a bird’s-eye view of a remote vegetable crop and a microscopic swath from a pineapple leaf?

How distinct is a pile of table salt from miles and miles of icebergs?

As a food lover and a photographer, I answer these questions visually. Using scientific laboratory photo equipment, I journey over the surfaces of both organic and processed foods: my own favorites andAmerica’s over-indulgences. The closer the lens got, the more I saw food and consumers of food (all of us) as part of a larger eco-system than mere sustenance.

This particular combination of science, photography and food has never been explored before. I am using equipment that is traditionally used for science and academic advancement for art. Turning that notion on its head is exhilarating for me.

Connecting people and their food consumption is something that I hope to achieve by empowering viewers to reconsider how they think about their food, using art, rather than a plate and spoon. In this day and age when there’s so much rhetoric about food science, food journalism, food history, food how-to, what about a visual survey of what we all need, want and love (3-5/times/day)?

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/

Rendition Engine

projected video and photos, sound, glass
2010
Artwork by [user-name]

The idea for this work grew from an unusual photograph, by Trevor Paglen, of unmarked, modern jets normally used by major airlines. It was unusual for the jets' bland appearance and the optical characteristics of the photograph itself. The jets were painted so as to not attract attention, when in fact they attracted particular attention among planespotters for being so nondescript, and also for being flown to remote "black" sites thought to be operated by the CIA. The photo was optically weird because the photographer took it from such a great distance that the atmospheric depth between he and the planes was deforming the view.
Paglen's photo led me to Extraordinary Rendition, which involves the unacknowledged, illegal kidnapping and air transport of prisoners around the world to be interrogated and often tortured so as to force the divulgence of information about terrorist activities. Much was learned about the CIA's rendition program over the last eight years through the work of planespotters in tracking rendition planes, the work of journalists and human rights advocates in gathering of testimony by former detainees, and in the work of people who connected all of the dots and unearthed the rendition program in its present form. There's really nothing extraordinary about Extraordinary Rendition anymore, even with the change in administration. Everyone knows it exists, but the facts surrounding it remain state secrets.
Rendition Engine is an interpretation of the recent history of Extraordinary Rendition. An audio speaker and video projector will be mounted to a blown glass form resembling a commercial jet engine; the glass form will serve as both a video projection surface and an acoustical amplifier.

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