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.