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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
Images

Because I often ask myself “What is the signature of the artist when compared to the gesture of the machine?”, I returned to the compound sine waves I explored years ago as “harmonographs”, this time to further interrogate the question of “line” and “hand” under the rubric of pseudo writing. 

In asemic writing, the style and gesture of writing becomes divorced from meaning. Examples are found in the modernist works of Cy Twombly and Henri Michaux, or in the more contemporary work of Mirtha Dermisache. 

Date
January, 2022
Images

In Motherwell's  "Elegies to the Spanish Republic," abstractions of bull testicals serve as symbolic links with heroic death in the bloodly tragic war with fascism. He ties the Spanish bullfighting culture—a spectacle of life and death embeded within the everyday—to the contemplation of a specific historical loss.

Date
August, 2013
Images

This software uses flocking algorithms as the basis for the composition of soundscapes. It is a meditation on the question of what the group is, and what its proper functioning is. If we seem to constantly be wondering if we are doing what we are supposed to be doing in a group, birds by contrast, know how to flock.

Date
June, 2013

Southern Exposure will be hosting my three-part discussion series called “Thinkings: How computers change the way we see by altering the way we think.”

Tuesday, September 21, 7:00 – 9:00pm
Tuesday, October 19, 7:00 – 9:00pm
Tuesday, November 16, 7:00 – 9:00pm

Date
September, 2010

Life with computers has changed the way we see and think. A thorough understanding of the import of that change is difficult to attain. We tend to focus on the epiphenomena rather than the deep structure of computational culture. We are immersed in brands, in products, in the spectacle and the experience mediated by computers and screens, but we rarely consider data as such, or what a system is. And yet, data and system are the concepts that affect our way of seeing and thinking and make them radically different after the recent ubiquity of computers.

Date
Images

A more naturalistic simulation of the tree avoids obvious fractal geometricizing self-similarities and adds a hint of randomness.

Date
March, 2010
Images

The first drawing algorithm I tried, after writing a java driver for my HP7475 plotter, was a recursive tree algorithm. These simple figures based on repeated uniform bifurcations produce almost perfect fractal structures. They are varied by changing the ratio of the left and right branches, the thickness of subsequent branches, etc.

Date
February, 2010

President Barack Obama's State of the Union address has been analyzed and visualized at the State of the Union website. The address was delivered to Congress and the American people by the President on January 27th.

Date
January, 2010
Images

Animal painting is popular again; the evidence is on YouTube. But it was popular in the Fifties and Sixties too and taken seriously by some in the art world and certainly by some biologists. Congo, the painting chimpanzee was a star.

Date
October, 2009
Images

Taking off from the children's song, "99 Bottles of Beer on the Wall," this piece creates allegorical software in which the path of drawing turtle of logo progressively gets more wobbly.

Date
December, 2008
Images

The question of what it is possible to think under the current regime of the United States, and what it might be possible to think sheltered from the threat of government surveillance is the journal's main concern. The Journal of American Thought Crime distributes a literary magazine in the form of an encrypted mailing list.

Date
July, 2008
Images

Broken Wave is a "data toy." It generates both sound and visuals based on a complex sign wave function that can be modulated and manipulated by the user using mouse gestures.

Date
May, 2008
Images

The infamous photos of Abu Ghraib came to light in 2004. Now, four years later, we are still debating the ethics of torture, and are still apparently unable to really process the contents of the images we received from the American dungeons of Iraq.

Date
March, 2008
Images

In this piece, the systematics of Riley's work are animated in the machine, and their wave-like potential is realized.

Date
June, 2005

A particular figure of absence seems to possess a suspicious connotative efficacy in its deployment within language and as a visual figure. What is at stake in the use of the empty square? A clue to answering lies in the relation of two series which can be used to describe the mechanisms of computation. These are: the series of creation, including invention, birth, production, etc.; and the series of rule, including conditionality, boundary, possibility, etc. The two series are clearly gendered opposites that correlate with Oedipal principles.

Date

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

The Turing machine (and thus, the computer) resembles the generalized semiotic structure. It consists of the conjunction of two series inside of a container. One series is made up of states out of a set of finite possibilities, the order of which proceeds by means of a determinate set of rules. The other is a series of symbols arranged in time along a potentially infinite ribbon of inscription, where the value of the symbols is dependent on their order. The machine is a conjunctive emptiness, which produces in movement.

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

Pornocopia imagines pornography as a machine, a system, a software, an algorithm: a device for the multiplication of desire or for the production of desire’s contagion. It is structured as 10 software mechanisms, which play out a sequence of state changes within a single minute while containing a series of porn images.

Date
February, 2004
Images

A culmination of the work with harmonographs, this piece incorporates a sound track which was constructed using techniques analogous to the curves, and a voice-over which makes links between the abstract forms and social, sexual, and computational concepts. It is the first step in a narrativizing thrust of the work.

Date
May, 2003
Images

This work explores the possibilities within a single system for creating random highly variable curves based on a harmonograph simulation. The harmonograph was a popular scientific toy of the late 19th century (lately making a comeback in contemporary science museums) which drew complicated Lissajous figures by attaching a pen to a multidimensional pendulum.

Date
February, 2003
Images

These pieces show the range of variation that is possible within this simple system. Each panel contains a set of 24 randomly generated curves. Titles are the dates and times of generation.

Date
January, 2003
Images

Each of these panels contains a set of 4 images selected from a superset of 1000 randomly generated curves. This piece focuses on the interface between the machinic process of generation and the subjective process of selection. The grouplings formed on the basis of percieved similarity have little relation to the actual parameters which produce the work. The projective tendencies of the mind attribute characteristics like curliness, roundness, or even femininity, energy or wierdness to what are merely inert lines.

Date
January, 2003