Artist Statement
This is the video that was used in the vogma manifesto post. This was the manifesto I wrote outlining what I thought videoblogging should be. I still subscribe to these ideas. The video was shoot on the bus from Oslo airport into the city, I played with the sound by taking a shorter duration of sound from the QuickTime clip and then stretching it in QuickTime Pro to match the image track. The film uses a QuickTime text track but it now renders the text very oddly so I have embedded this at twice its size, which actually looks better.
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ACT - assemblage for collective thought - is an ongoing conceptual and aesthetic collaboration, an assemblage of technologies and techniques for collaboration. It enables participants to think collectively. By 'think' here we do include thinking conceptually. However, following a century that has had to come to terms with thinking through aesthetic processes, we also mean thinking affectively, via images, texts and sounds. More than this, ACT asks what kind of thought is produced in the mix in the middle of the very act of collaboration, when DJing, VJing, dancing in front of a camera perhaps, are all opened up to the mix. Is there a different quality of thought? A different experience of thinking? An especially collaborative thought?
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This is a simple work. It is a cycle of poems, randomly interlinked. It is not radical in its use of technology - the randomising perl script is the most natural way to navigate the cycle of poems because, while all the poems were written in the year 2003 during a period of intense personal circumstances as well as intense public international upheavals, the poems bear no linear relationship to each other and therefore can be read in any order. The technology is used in the service of artistic expression, which is a sensible role for technology. In this case, the artistic expression is simply a cycle of poems, so there is little to recommend it.
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Activated by the voices of visitors in the real-world gallery and chat messaging from virtual visitors in Second Life, a swarm of letter cubes - programmed to seek out their original word position - slowly builds a morphing, virtual Tower of Babel. This tower is constructed from the utterances of visitors to it, constantly reconfiguring itself according to the artificial stupidity of the individual letter forms. What sorts of conceptual figures are available to think such a thing? The very old: the Tower of Babel from the Book of Genesis, which melds the frightening possibilities of technology, language, and power in a single startling image. And the very new: swarm intelligence as an ideal that expresses how innumerable different individuals can nonetheless come to produce radical innovations in excess of the powers of any one of them and in the midst of apparent disorder.
Babelswarm is a project that draws on the most traditional elements of religion, art, and literature, as it engages with the challenges of a scientific and technological age.
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Sydney's Siberia recreates how networks build exploratory story-scapes through an interactive zooming/clicking interface. Using 121 poetic/story image tiles, the artwork dynamically generates mosaics, infinitely recombining to build new connections/collections based on the users movements. The images/texts come from exploring Newcastle, Australia as a patchwork, a complex mix of architectural tendrils, whose stories extend to and are strained by the overshadowing behemoth of Sydney to the West. And as each new grid is formed, the reader must search for what they haven't seen, mining in a digital Siberia.
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A interactive logoed world populated with 45 strange and fantastical stories of the societal/cultural failure of influential net portals, fast food giants, newspapers, airlines, manufacturers and other oddities.
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A strange hybrid work where writing is built directly from the videos and statistical graphs. These are imaginary worlds/possibilities, with the background pop culture videos evidence and inspiration. After mousing over the data points/dots the statistics and lines pop-up. Perhaps the most difficult aspect of creation was determining the percentages and numbers which drive the stories/poetry, and how do those statistics coax the narrative/poetry along into semi-coherent streams. And being a child of the late 70s and 80s I am fascinated by the glory days of absurd pop culture, the notion that a near storyless video game pixeled mouth can eventually have its own branded can of pasta. And then there is the Frankenstein clip. Just damn beautiful, even more so that its now a hundred years old.
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Evidence of Everything Exploding is a game driven digital poem exploring various historical and contemporary texts. Each level's poetic content is built from the document's sub-sub texts and curious consequences. With Bill Gates' letter to the Computer Brew Club about monetizing hobby computing, we find the seeds of an empire, James Joyce is caught in an infinite loop of changing texts, Fidel Castro's boyhood letter to the US president praising America and asking for money signals an opportunistic future.
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Digital poetry should surround the reader, to encompass them in the experience, to entice their hands and eyes to move with the language and explore the interface. It's critical for digital writers to see the interface, visuals, sounds, and movements as poetic/fiction elements. Multimedia and interface components are not just navigational holiday lights to pretty up the place, they add/change/expand the artwork. Within this work, I designed a responsive creatures as both fun to play and allow the reader to jump between texts, to read in their own ordering, to non-linearly explore the inherently non-linear nature of poetry. Layering is also of prime importance, as creating a sense of thematic and visual depth, embeds the poetry in a larger world, a more complex poetic.
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Multi-level menus as poetry generator, for when lines branch and branch. When writing a poem, often any line could generate out new directions, intersecting poems, branching possibilities. Using the modified code of a menu-sub-menu, I am experimenting with a poem within a poem within a poem. Enjambment as menu as poetic turn. A few factors I'm playing with: 1. the menu fade away timing (more or less?) 2. the mixing of various level depths 3. only one first entry, that extends to dozens of depths? 4. how else might this be used? 5. Rollover or On Press to trigger?
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A fancy way/method for branching, poetic lines out of lines, extending the poem down and out, read through node or nodeless. The poetic notion is more than simple. Write a poem, perhaps ten lines long. Then explore each of the lines, imagine poems which might build from them. Your poem might now have three branches extending from the trunk. Now choose lines from the branches and extend those, trees on trees. Geometry is both important and not important. Such meaningless statements are designed to coax vague thoughts an academic wonder. Are you now an academic wonder? You are. You are. Just because I am silly doesn't mean I'm not entirely serious. Whatever that means.
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Multidimensional/interactive cube poem, based on the puzzle, but impossible to solve.
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i made this. you play this. we are enemies. "is an art game, interactive digital poem which uses game levels built on screen shots from influential community based websites/portals. And using messy hand drawn elements, strange texts, sounds and multimedia layering, the artwork lets users play in the worlds hovering over and beneath what we browse, to exist outside/over their controlling constraints. Your arrow keys and space bar will guide you, with the occasional mouse click begging for attention.
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Series of short ficto-doomsday stones using with real-time countdowns to the end of times.
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Brief curious video based songs/sound poems with flash animated backgrounds.
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This strange island continent and its ever dry centre and clusters of wooded sea tethered cities is compass confused. European colonizers are forever pointed north and west, pining for California culture or European roots, the indigenous population is pulled towards the centre, a home where cartographic directions and menus are irrelevant, and an economic engine and future reality that spins hard, thick arrows pointing east. The rest of the world sees this place, this strange residual of British Empire as down, forever down.
Wide and Wildly Branded uses the compass as an interface, a rounded guide to poetic lines. The top and bottom, the north and south textual lines are at odds, contrasts abstract and relationship and directionally confused. The background video was shot while lost, hiking by a creek that turned into two creeks and then four, pathways alike and specific, threatening and alluring enough to entice wandering. Turn and play along a downward compass, the Antarctic, the Antarctic.
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GGGAG is a digital poem, game, and anti-design statement. The western world's surroundings, belief systems, designed culture-games, create the built illusion of clean lines and definitive choice, cold narrow pathways of five colours, three body sizes and capsule philosophy. Within new media art the techno-filter extends these straight lines into exacting geometries and smooth bit rates. This game attempts to re-introduce the hand-drawn, the messy and illogical into the digital, via a retro-game. Hovering above and attached to the poorly drawn aesthetic is a personal examination of how we/I continually switch and un-switch our dominate belief systems. Moving from faith to real estate, from chemistry to capitalism, triggering corrected poetry, jittering creatures and death and deathless noises.
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Top-down zombie shooter where the artwork is generated by playing. [W]inning and losing has video rewards.
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Hidden secrets and interactive layers are packaged by our obsessions with objects and their terrible dark between. Between Treacherous Objects explores the space between various contemporary items/ideas. For example, between the Refrigerator and the Death Bed is a heavy lines and gradual space, where eating can fill your world, ending it as well. There are twelve levels, each playing with the depth of the screen, allowing the user to move in and out and around the floating space.
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Real-time weather rss feeds drive a series of visualizations. Artistically translates numbers into strange creatures.
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This work uses interactive spaces to explore our obsessions with microscopic species killers.
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A slot machine for predicting death. Stripped down code of a slot game inserted with 15 five-line death fictions, poeticals.
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