Cookies UI

metaphor

Images

Color is imagined as a space. This work is one of my earliest, a browser art piece from 2001. It was originally accomplished using frames for the color cells. This version is rewritten for the contemporary browser (in 2024).

Date
November, 2024

A computer-controlled machine carves the surfaces of 150 pound, cubic foot, blocks of concrete with its hammer drill. Each block is lifted onto the machine in turn and held inside its mechanism. The drill moves in a path across the block’s surface and laboriously traces out the words “girly man” in various configurations. The marked blocks stand on one side of the machine while the intact blocks lie in wait at its other side. A wall separates the controlling computer from the machine and the blocks.

Images

Inscription is an exploration of the aesthetics of power in relation to the task of writing. Here, in a time when the neo-fascist spirit is casting a shadow across the political culture, and when the possibility of meaningful political discourse seems more and more remote because of it, there is a relationship between the wealth of violence–war, images of brutality–and the poverty of our communications. There is a relationship between the denigration of thoughtfulness as weakness, femininity, and gayness, and the impossibility of halting the campaign of aggression that the U.S. has embarked on, or of furthering stalled progress in the domain of civil rights or economic justice.

Date
May, 2005

The ideational threads that weave their way through this list summarize the obsessions that motivated my work during the five previous years. There is a trajectory here: from a concern for the abstract, theoretical underpinnings of computer technology, to the intertwining of technical and cultural logics in the lives and politics of the people who create and use computers.

Date
Images

In modeling the game Chutes and Ladders on a computer, we gain insight into the nature of both games and computation. The computer version, unlike the rule bound cardboard version, is unfixed, thus allowing for the displacement of a moral overlay by a free play of algorithmic patterning. The abstraction of the model preserves a structure but unleashes a principal of variation: the computer makes every constant a variable (as Marcos Novak observes as he describes the liquefaction of architecture). The arbitrariness of particular rules becomes evident.

Date
March, 2004
Images

Color is imagined as a space. We see colors as distributed throughout a cube with black on one corner and white on the opposite corner. Red, green, blue, cyan, magenta, and yellow each have a corner. The rest of the colors-more than 16 million of them-are distributed as a gradient cloud in between.

Date
September, 2001