Artist Statement
Inspired by the artic sound experiments of Glen Gould. Isolating small talk at crowded parties, this engine allows the user/reader to create their own vocal mess.
Source of Artist Statement

]]> Artist Statement
Inspired by lost diaries and those strange diseases that arise in one percent of one percent of the one percent of us.
Source of Artist Statement]]> Artist Statement
Redesigned the interface, playing off 3D feel on version one, placing it within the two dimensions. Added a few extra bits, and readjusted the medical reports.
Source of Artist Statement]]> Artist Statement
An anthology of interactive poems. Originally was three different works. Fitted together in "selected works" mode.
Source of Artist Statement]]> Artist Statement
While net-art becomes increasingly more complex, more database and programming centered, this project shoots for simplicity. Utilizing the basic mouse-follower, Uncontrollable Semantics pulls together over fifty dramatically different sound, image and interactive environments, all through the simple mouse follower. While a simple innovation, this technique allows the user/player/reader to create their own experience, to feel the work come from the screen. Each environment offers four directions to four terms, four semantics, four named creatures. Explore and play and confuse yourself.
Source of Artist Statement]]> Artist Statement
Recombination, hand correction and the layering of meaning are built into his exploration of design and poetry.
Source of Artist Statement]]> Artist Statement
Using speech to text software trained to my scratchy and yet (in the afternoon) velvety voice, I process the worlds of media (movies, radio, music, crowds, the ocean). The software, as all technology, is an imperfect and jealous lover that misunderstands explosions, or ambient noise as text, and retranslates the sounds and dialogues, finds hidden words beneath what we (and it) hears. Think of the process as an interpretive dance, a jittery technological oracle for our electronic boxes that shine out uncertain media prophets. These poems are the first in a series of noise to poetics experiments.
Source of Artist Statement]]> Artist Statement
Net Behaviour is an open email list community for sharing ideas, posting events & opportunities in the area or networked distributed creativity. Also facilitating collaborations.
Source of Artist Statement]]> Artist Statement
Algorithmic driven mascots. Hypnotizing stuffed and evil creatures. Both humorous threat, and creepy absurdity.
Source of Artist Statement]]> Artist Statement
Keyboard driven video/sound poem generator. Create your own pop spell combinations. Includes 80s commercials, bombs, star trek.
Source of Artist Statement]]> Artist Statement
Keyboard driven video/sound poem generator. Create your own pop spell combinations. Includes 80s commercials, bombs, star trek.
Source of Artist Statement]]> Artist Statement
Keyboard driven video/sound poem generator. Create your own pop spell combinations. Includes 80s commercials, bombs, star trek.
Source of Artist Statement]]> Artist Statement
One possible reading is as 3-dimensional concrete poetry sculpture generator. The cube interface allows the reader to move the interface in 3-dimesional space, with the all elements placed on the cube transforming in proportion to the cube's movement, perspective and warping is reasonably maintained as the cube is moved. Furthermore, each of the rows and columns can be moved to further recreate the placement and graphical nature of the poem.
Each of the sides of the poem are colour coded to give the reader a reference point for the initial configuration of the interface, so changes become more apparent. A learning tool designed by myself and programmer Rory Hering. The Cube allows users/poets to enter a 16 line poem, with those lines automatically placed within the multi-layered sections. Use the buttons to move in and out, recombining the poems by turning the Cube upwards, downwards and inwards. Built to act as a bridge between the print and digital worlds.
Source of Artist Statement]]> Artist Statement
A slot machine for predicting death. Stripped down code of a slot game inserted with 15 five-line death fictions, poeticals.
Source of Artist Statement]]> Artist Statement
This work uses interactive spaces to explore our obsessions with microscopic species killers.
Source of Artist Statement]]> Artist Statement
Real-time weather rss feeds drive a series of visualizations. Artistically translates numbers into strange creatures.
Source of Artist Statement]]> Artist Statement
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.
Source of Artist Statement]]> Artist Statement
Top-down zombie shooter where the artwork is generated by playing. [W]inning and losing has video rewards.
Source of Artist Statement]]> Artist Statement
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.
Source of Artist Statement]]> Artist Statement
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.
Source of Artist Statement]]> Artist Statement
Brief curious video based songs/sound poems with flash animated backgrounds.
Source of Artist Statement]]> Artist Statement
Series of short ficto-doomsday stones using with real-time countdowns to the end of times.
Source of Artist Statement]]> Artist Statement
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.
Source of Artist Statement]]> Artist Statement
Multidimensional/interactive cube poem, based on the puzzle, but impossible to solve.
Source of Artist Statement]]> Artist Statement
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.
Source of Artist Statement]]>