Uncommon Union worked with the former Head Prosecutor of the International Criminal Court and Forensic Architecture to crowdsource evidence of genocide against the Yazidi population of Northern Iraq. Forensic Architecture specializes in research, reconstruction, and visualization of evidence in prosecuting of human rights violations. We worked to both gather and disseminate aspects of findings to the general public, including exhibitions and discussions.
“How Humanitarians Are Crowdsourcing Evidence Of A Genocide By ISIS
There are growing options for recycling, up cycling, and reuse for artists working with electronic parts these days. The global proliferation of powerful computer hardware means that even older, discarded platforms can be quite powerful. Personally, I’ve been working with…
The GameBoy One Bit Projector Project project was created for Shoot, View, Play: A Study of the GameBoy Camera at the Rutgers-Camden Digital Studies Center in collaboration with Elizabeth Demaray.
This symposium was the official launch the Rutgers-Camden Archive of Digital Ephemera (R-CADE). The R-CADE is a collection of hardware and software made available to scholars for research purposes. Unlike many archives, the R-CADE does not necessarily aim to preserve these artifacts, at least not in the traditional sense of this word. Scholars are free to take apart, dissect, and repurpose artifacts in the R-CADE as they attempt to understand their historical and cultural significance.
Lenticular imaging combines photographs of multiple perspectives on a subtly textured surface. The result approximates a three dimensional space — but only when viewed from certain angles and at the optimal distance.
Lenticular images are popular. They can be found on bookmarks, cards, and even framed pictures. These images were also in production in the Soviet Union stemming from film-related research conducted in the 1940s.
For this piece, I employed a contemporary technology, photogrammetry, which is reminiscent of lenticular imaging in many ways. Using photogrammetry I “reversed” the lenticular process to reconstitute whatever 3D spacial information I could from a Soviet era lenticular image.
This piece was part of an exhibition at Princeton, “Aesthetics of Information,” in which participants were asked to extract data from an object supplied by another participant.
In the spring of 2007, contractors working at the Clocktower Gallery uncovered a Sol LeWitt wall drawing dating from the 1970s. It was a timely discovery given LeWitt’s passing earlier the same year. As the news began to circulate, the LeWitt estate became alarmed, contacted the gallery and demanded the work be destroyed. According to the estate, preservation of a site-specific installation outside the timeframe of the original exhibition constituted fraud. Fearful of any ramifications, legal or otherwise, the Clocktower complied with the estate demands. The work was destroyed.
At the time, my studio was in the Clocktower. To document this work I scanned a fragment at a high resolution as it was demolished. For many years I kept this scan not knowing what to do with it. While working on a pattern recognition for a digital vision project, I processed the LeWitt drawing as part of a research project I was preparing for the New Media Caucus. Using a compression zlib algorithm, I reduced and weighted the connections in the drawing to generate a new pattern.
After being accepted into the PS1 Studio Program, I was invited to stay as a long term resident of the PS1 Medial Lab. For a period of over six years, I collaborated with, supported, and advised PS1 staff, artists, and…
Collaborative research project with journalist and NYU professor Adam Penenberg to assess the real time value of users in a “participation-based economy” via social media and iphone platforms. The project featured data visualization, market simulations, and the exploration of audiences…
I occasionally hosted shows for PS1′s internet art radio station which eventually became the independent entity, Art On Air. I worked as a volunteer for many years providing technical support for PS1 and assisting in many projects such as the…
Trauma links battlefield and household simulation games through shared emotional metric. Battlefield trauma is overlaid on a domestic floor plan. Trauma, visualized as a glowing red sphere gradually moves and expands like a contagion. The tends toward minimum energy (characters within the game become immobile) as trauma mounts. The networked game worlds are both generators and barometers of trauma.
Prisoner is a multi-tiered penal simulation. Each game console occupies a place on vertically arranged platforms. Within the game system, prisoners are moved from holding, isolation, and interrogation in an effort to extract information. Different prisoners respond to different in-game actions. Once a story is obtained by the right action it can be checked against others. Decoding puzzles requires various kinds of interventions, at the right time, to identify matches within the prisoner network. Nonetheless, the true pattern is never confirmed. Patterns can also emerged as a consequence of the extraction routine making the true source of the information inconclusive and endless.