Caren AlpertLiat BerdugoW. Benjamin BraySophia BruecknerLynn Cazabon and Neal McDonaldAnna Comiotto and Manuel SchüpferMichael DemersJoseph FarbrookAntony FlackettBen FoleyMatt FrieburghausRob Gonsalves and Anna Kristina GoranssonDave GordonBenjamin GrosserAndrzej MaciejewskiJames ManningMichael MittelmanMary MurraySarah RushfordErik Sanner and Kazue TaguchiFito SegreraAnne Morgan SpalterDaniel TemkinDavid Van NessJeffu Warmouth

Collision 20

Boston Cyberarts Gallery 141 Green Street • Jamaica Plain, MA

bilocate

January 17 - February 23, 2014

COLLISION20:bilocate largely features work

that explores the ability of art to create a

conceptual and perceptual overlap, tenuously

enabling the viewer and the work to exist in

more than one place at the same time. Once considered a miracle, bilocation has be-

come not only possible but commonplace through the pervasive use of recording and

communications technology. The works in COLLISION20:bilocate employ diverse

techniques to arrive at this effect, ranging from literal transposition to gently sugges-

tive metaphor. COLLISION20:bilocate samples and amplifies the overlapping and

diverse range of work produced by artists living under the influence of technology.

-William Tremblay

ABOUT COLLI-SIONcol-lective

ABOUT COLLISIONcollective

Formed by artists and technologists, the COLLISIONcollective is premised on the intersection between art and technology. Its practitioners are drawn to this synthesis as the epicenter of forward-looking cultural adapta-tion. COLLISIONcollective was formed to address several vital needs: the promotion of artists, the creation of events and venues for exhibition, and fostering the exchange of ideas, techniques, and enthusiasm for making art. COLLISIONcollective brings together people of all ages and disciplines in a collective for-mat, creating a supportive community. It has eighty-five members from around the U.S., who are active visual artists/engineers and holds forums and invites speakers of interest to their members. It is the largest organization of its type in New England.

INTRODUCTION

ABOUT COLLI-SIONcol-lective

ABOUT COLLISIONcollective

Caren Alpertterra cibus no. 32: shrimp tailterra cibus no. 35: sun dried tomatoPhotographs

What’s in our food?

What’s the difference between a bird’s-eye view of a remote vegetable crop and a microscopic swath from a pineapple leaf?

How distinct is a pile of table salt from miles and miles of icebergs?

As a food lover and a photographer, I answer these questions visually. Using scientific laboratory photo equipment, I journey over the surfaces of both organic and processed foods: my own favorites and

America’s over-indulgences. The closer the lens got, the more I saw food and consumers of food (all of us) as part of a larger eco-system than mere sustenance.

This particular combination of science, photogra-phy and food has never been explored before. I am using equipment that is traditionally used for sci-ence and academic advancement for art. Turning that notion on its head is exhilarating for me.

Connecting people and their food consumption is something that I hope to achieve by empowering viewers to reconsider how they think about their food, using art, rather than a plate and spoon. In this day and age when there’s so much rhetoric about food science, food journalism, food history, food how-to, what about a visual survey of what we all need, want and love (3-5/times/day)?

bio Caren Alpert is a San Francisco-based fine art and commercial photographer. She specializes in food, travel, and lifestyle topics, and teaches editorial photography at Academy of Art University.

Born in New York, and raised in Tucson, Arizona, Caren earned a bachelor’s of fine arts in photog-raphy and graphic design from the University of Arizona.

Caren started her career as a photo editor in New York working with titles such as Health and Money Magazines. In addition, she’s worked as an editor and researcher for Vogue, George, and for Mira-max Films.

Much of Caren’s commercial life centers around culinary topics. But, she is also a science geek at heart. As a result, she found a way to combine her three favorite topics: food, technology and art, by shooting food with an electron microscope. Caren’s fine art photography focuses on her examination of food, both visually and culturally.

www.carenalpertfineart.com

W. Benjamin BrayI’ve Been ThereCast glass, C-print

The figurines are glass castings of 3D scans of the artist. They are situated on opposing sides of a boundary between two mutually-inclusive states (light/dark, tropical/polar, life/death).

I was in Japan for New Year’s Day, which is a per-sonal boundary for all of us.

Though having returned to the United States, I feel like I’m still in Japan.

Akemashite omedetōgozaimasu!

Liat BerdugoDescendiPad, video

Displayed on an iPad, Descend shows a manicured hand performing the pinch-to-zoom gesture on the surface of glass. All touch-responsive capacities of the device are switched off, so that the screen itself no longer responds to the human hand which it displays. As the hand rises in the video frame, it appears to descend into the physical iPad, chang-ing the device’s responsive, flat surface into a deep, static frame.

This piece is part of an ongoing series of video works -- entitled The Zoom Series -- that recon-textualizes the multi-touch gestures of digital devices. Technology and its devices teach bodies new gestural lexicons: simply put, we’ve learned to move differently. This series highlights these new movements by removing the digital device from the picture entirely, leaving only their gestures behind.

Acting credit: Elizabeth Rossiter

bio Liat Berdugo is an American-Israeli artist whose work focuses on the strange, delightful and in-creasingly ambiguous terrain between the digital and the analog, the online and the offline, and the scientific and the literary. Her work has been exhibited in galleries and festivals internation-ally, including The Simultan Festival in Romania, STIGMART/10 in Italy, Athens Video */ Art Festival, and DysTorpia Media Project in New York. She is the 2012 winner of the Anomalous

Press Chapbook Competition and her book, The Everyday Maths, was published in 2013. She holds a BA in mathematics from Brown University and an M.F.A. in Digital + Media art from the Rhode Island School of Design. Her recent work explores the totemic and fetishized sides of technology and the gestures surrounding its condensation to the surfaces of touch-screens. She lives and works in Tel Aviv.

http://digikits.ch

Sophia BruecknerEye of the BeholderWood, acrylic

I created this relief sculpture by using computer code to map a wall texture from Eye of the Be-holder 2: The Legend of Darkmoon, a 1991 DOS game, to a three-dimensional form. I milled this form on a CNC milling machine out of wood, and I have been carefully painting the original image back onto the object. Areas of dark value are short, and areas of light value are tall. The original colors painted back onto the physicalized lights and darks results in an unexpected and ambiguous experi-ence for the viewer.

bio Sophia Brueckner, born in Detroit, MI, is an artist and engineer. Inseparable from computers since the age of two, she believes she is a cyborg. She re-ceived her Sc.B. in Computer Science and Applied Mathematics from Brown University. As a software engineer at Google, she worked on the front-end development and interface design of products used by tens of millions and later on experimen-

bio Psychology, jet engines, oceanography, Tahiti, and physics are a few of the players in what has been a refreshing period of intermittent revelations, ideas, exhibitions and purposelessness. The second half of the last decade featured works rooted in Exis-tentialism and Surrealism, such as “Coasts” (2006), and the “Modes of Departure” series (2008-09). These installations addressed cycles of flux, tran-siency and nostalgia in society, and also relation-ships involving 3D glass form serving as both a projection surface and acoustical body for sound.

Works like “Rendition Engine” (2010) and “Lens Effects” (2010) grew from Situationist topics preva-lent in contemporary art, such as “experimental geography”. Whereas earlier works presented ap-plications of personal psychology in the context the Boston community, and transient communities in general, “Rendition Engine” was an iconographic interpretation of Extraordinary Rendition, present-ing in sculptural form the singular psychological experience of someone else as they suffer the ef-fects of cultural conflict.

My current work is comprised of essays and sculpture confronting “boundaries” to human proliferation, between land/ocean, tropical/arctic regions, finite/infinite, and involves expeditions to two different Arctic environments in the past year, Svalbard and Barrow, AK. A realization of a personal trajectory towards the northern coasts led to questioning about what attracts humans to such locations, what they represent, and what’s happen-ing to these environments as a result of human activity.

My M.S. thesis presented an atmosphere/ocean cir-culation model for determining atmospheric oxy-gen levels 4.5 billion years ago, and was preceded and followed by studies in music, glass, acoustics, optics, and conceptual art.

http://www.benbray.com

tal projects within Google Research. Brueckner earned her MFA in Digital + Media at the Rhode Island School of Design and was also an instruc-tor there teaching a course on science fiction and art. Her artwork has been exhibited internation-ally, and, in particular, she is interested in interac-tion design, generative art, algorithmic writing, and, as a technology antidote, painting. She feels an urgency to understand and bring awareness to technology’s controlling effects, and to encourage the ethical and thoughtful design of new technolo-gies. She recently joined the MIT Media Lab where she is a researcher in the Fluid Interfaces group and teaches Science Fiction to Science Fabrication, a course combining science fiction and invention.

http://www.sophiabrueckner.com

Lynn Cazabon and Neal McDonaldJunkspaceHD video projector, Mac mini

Junkspace is a time and location sensitive anima-tion and mobile application that dynamically visualizes space debris tracking data, using images of earth-bound electronic waste as stand-insfor debris in orbit above the viewer. Using custom software, NORAD’s database of debris orbit de-scriptions and the GPS coordinates of the exhibi-tion venue or viewer position, the movement of animated e-waste on screen aligns with the

orbital path of actual pieces of debris in orbit above the user’s location. As an object passes over the cen-ter of the screen, the name of the correspondingpiece of debris appears at the bottom. The free iOS app utilizes the device’s built-in compass, GPS and accelerometer and allows the user to scan the entiresky around and beneath them. Users can also find out more information on the originating satellite or rocket, including launch date, country of origin, and purpose by tapping on its name. The aim of Junkspace is to draw attention to problems resulting from technological obsolescence (on earth and in space) and to inspire dialog about improved design protocols for future technologies.

bios Cazabon and Neal McDonald are artists based in Baltimore, Maryland who collaboratively cre-ate works combining data-mining, animation and photography that seeks to raise awareness about pressing environmental issues. They both are on the faculty in the Department of Visual Arts at the University of Maryland, Baltimore County.

http://www.junkspace.org

Anna Comiotto and Manuel Schüpfer//Electro-luminescent Rock//Alpine experiment by Anna ComiottoVideo: Manuel Schüpfer

At 7552 feet above sea level,on a mountain range overlooking a gla-cier made up of 27 billion tons of ice,part of a lichen -covered boulder is trans-formed into electroluminescent matter.

The video documents the rock’s transforma-tion in this wild, undisturbed no man’sland.

Using a traditional color palette and brush, the paint-er applies silver paint, dielectric paint, excit-able phosphor, and a conductive varnish to the rock’sweathered surface.

As the sun goes down she supplies electric ener-gy to the paint layers.At dusk the rock begins to flicker, then flash.Finally, it emits a steady glow into the darkness.

 Electroluminescence becomes an active part of dark-ening nature  in a surprisingly natural way.

bio Anna Comiotto (1977) brings together electronic art and elements found in nature. She uses botani-cal and geological finds in experiments and instal-lations generating electricity, sound and light.

Works are documented by the video artist Manuel Schüpfer (1968). Both live and work in Bern, Switzerland.

http://www.annacomiotto.ch

Michael Demerslow_resolution_wormholeLaser print on paper

Blank sheet of paper scanned and printed continu-ously.

bio Michael Demers is an Assistant Professor of Fine and Digital Art. His own work incorporates culture and cultural identity in a synthesis of critical in-vestigation and his own adolescent preoccupation with toys and other weird ephemera.

He has exhibited internationally, most recently at the Maryland Institute College of Art (Baltimore, MD), Embassy Gallery (Edinburgh, UK), and Arteria “Internet Livre” (São Paulo, Brazil). He is a member of the White Columns Artist Registry (New York), the Rhizome Curated ArtBase (New Museum, New York), and is a core commentator for TINT Arts Lab (London, UK). He is a contrib-uting author for Net Works: Case Studies in Web Art and Design (Routledge Press) and Foundations of Digital Art and Design (Pearson/New Riders), and is a contributor to maps-dna-and-sp.am.

Michael received his BFA from Florida Atlantic University, his MFA from Ohio University, and a Staatliche Hochschule für Bildende Künste Diplom from the Akademie der Bildenden Künste, Mu-nich, Germany.

http://www.michaeldemers.com

Joseph FarbrookDancerFrame, matte, electronic ink display and circuitry.

Dancer is from my new lineograph series created on electronic ink screens. The screens emit no light and are entirely reflective, mimicking the aesthetic of an ink drawing, except with movement. The screen also can be touched on and off, display-ing hundreds of stills.

This series explores human artistic expression, es-sentialized within the simplicity of line drawing.

bio Joseph Farbrook grew up in New York City and Santa Fe, raised by his father, a concrete poet, and his mother a painter. Farbrook creates electronic installations, interactive video, and virtual reality narratives. He has also developed media-reflexive live performances mixed with interactive screen projections. His latest work explores the intersec-tions between video, video games, and sculpture.

Farbrook exhibits both nationally and internation-ally. Recent venues include Watermans Gallery London, SIGGRAPH, the Museum of Contempo-rary Art in Denver, La Fabrica Arte Contempora-neo in Guatemala, Museo De Arte Contemporaneo in Columbia, as well as venues in the Netherlands, China, Czech Republic, and the USA. Joseph Far-brook is a professor at the Worcester Polytechnic Institute.

http://www.farbrook.net

Antony FlackettNude Descending an EscalatorMixed Media

Another in a series of “video diorama” pieces simi-lar to the ones that I have included in other Colli-sions shows. This one is even smalled and includes (as you might have guessed) the image of a nude (myself) descending what looks like a tiny glass escalator.

bio Antony Flackett is a video/sound/multimedia artist from the Boston area. He performs and records music under the name DJ Flack and runs a weekly night of “Experimental Party Music” called Beat Research. Antony also teaches an electronic music class at The Massachusetts College of Art and Design of the same name. His single channel video work has been shown throughout the world (New York, Spain, Australia, Italy, Sweden etc.) and he also creates silent holographic video dioramas (like the one in this show) that have been exhibited in the Boston area.

http://djflack.com

Ben FoleyThe AlchemistAluminum, wood, mirrored glass, Acrylic plastic, LEDs, Teflon/ copper wire

A geometrically perfect sphere of moving, glowing light is projected to appear to sit two feet outside a small cube atop a pedestal. The imaginary form, not unlike a hologram, churns and flows as the viewer approaches, like a burning star bursting with ever-changing solar flares. The sphere is an illusion created by what is inside the box, which is itself hard to discern. Like much of my work, this sculpture uses illusion, optic tricks, and a clever use of relatively simple materials to achieve an mesmerizing and otherworldly experience for my viewer.

bio Ben Foley’s concepts in sculpture are based in the idea of challenging viewers perception of the space they occupy. He uses industrial materials, includ-ing panels of clear and mirrored plate glass, kinetic armatures of wood, steel and aluminum, mechani-cal motors and electric devices to control his main medium: light. Graduating from Colorado College in 2009 with a BA in sculpture, Ben focused on ar-chitecture, drafting, and technical drawing, which plays a large roll in is current work. Showing on the east coast and formerly Colorado, his work was has granted him fellowships at residencies in the US and has recently been accepted as a permanent installation at the Pedvale Outdoor Sculpture park in Pedvale, Latvia.

Matt FrieburghausOrbit - WNWOne-minute looping digital video on a digital frame

The trajectory of an object orbiting earth cre-ates an infinite path of motion; a straight line becomes curved as a result of earth’s gravitational pull. A point of light as seen from earth moves in an eerie, yet swift and steady arc across the night sky, rising from the west and setting east. Orbit - WNW explores the perception of motion by altering footage of the International Space Station (ISS) orbiting earth as seen by the naked eye. The ISS, a bright point of light, is transformed to become a straight line referencing the infinite path. The result creates the illusion of unbeliev-able speed while the experience is as silent as the near vacuum of space.

bio Matt Frieburghaus records sensory experiences and uses digital processes to explore relationships between sight and sound. His work has exhibited at museums, galleries, and festivals including, FILE, Festival Miden, Field Projects, Newhouse Center for Contemporary Art, Hudson Valley Center for Contemporary Art, Garrison Art Center, Saranac Art Projects, and the Everson

Rob Gonsalves and Anna Kristina GoranssonDreamDropsFelt, paper, computer with custom software, Kinect interface, video projectors, speakers

DreamDrops is an interactive fiber/video installa-tion where viewers can interact with felt sculptures, brought to life as a colorful, immersive video and audio environment. Three DreamDrops are constructed with felt and paper. The felt gives them the form, and the paper provides a window into the virtual words. The Drops are suspended by their “tails”, from the ceil-

Museum of Art. He has exhibited at university gal-leries including Work • Ann Arbor at the Univer-sity of Michigan, Foster Gallery at the University of Wisconsin, Eau Claire, Lowe Art Gallery at Syracuse University, and Hartell Gallery at Cornell University. He most recently exhibited in Bronx Calling: The Second AIM Biennial at 1285 Avenue of the Americas Art Gallery. Matt received a BFA in Animation from the Minneapolis College of Art and Design and an MFA in Computer Art from Syracuse University. He is Associate Professor of Digital Media at Marist College.

http://www.mattfrieburghaus.com

ing at three heights. The red Drop is hung the most high, the blue Drop is lower, and the green Drop hangs the lowest. As visitors walk among the DreamDrops, they can see the three animated worlds. The red world looks like clouds at sunset, the blue world looks like the depths of the oceans, and the green world looks like a lush, tropical forest. The three worlds are populated by “boids”, a flock/school of animated critters that dash about in small groups. Visitors are invited to poke their heads up into DreamDrops. They’ll see bursts of color and dy-namic sparks triggered by their motion which is detected by a Microsoft Kinect sensor. People can interact with the boids, who will playfully investi-gate the human visitors, calling out with a futuristic wail. A hand clap gesture will trigger a colorful tunnel effect that will transport the visitor to other worlds. With their installation, Rob and Kristina are ex-ploring the threshold between personal space and public space in the technology era. The installation allows people to experience a private environment of light and color in a very public arena. Several open source software projects were used in this installation:OpenFrameworks - an open-source C++ library for creative codingofxKinectNui - Sadam Fujioka’s addon using the Microsoft KinectofxMSAFluid - an addon for solving and drawing 2Dfluid systems by Memo AktenofxBoids - a flocking motion addon for by Satoshi OkamiRob and Kristina would like to thank Jennifer Lim for her help with this installation.

bios Rob Gonsalves is an artist, inventor, and engineer. Ever since his parents brought home a Tandy Color Computer in 1982, Rob has been hooked on programming. He honed his interests in the arts, music, and computers in the Boston area. After at-

tending Northeastern and UMass Lowell, he joined Avid Technology as their 15th employee. As the Director of Architecture at Avid, Rob specializes in programming effects for video and film post-production. He holds 34 patents in this field. Since 2005, Rob has been creating and showing original video installations, employing unique interaction techniques, often showing his sense of humor.

Anna Kristina Goransson spent her childhood in Sweden, before moving to the United States in 1985. Art has been a significant part of her life, always making objects, drawing, and designing. Kristina entered more structured art making as an undergraduate at Rhode Island School of Design in 1994. She struggled with choosing a major and after a year in Industrial Design, she shifted to Fur-niture Design. Her time at RISD was spent creating simplified designs for furniture and struggling to craft them. After a fortunate turn of events post graduation, Kristina spent two seasons at An-derson Ranch Art Center in Colorado, getting to know some of the most amazing people within the craft world like Gail Fredell and Brad Reed Nelson while helping other people fulfill their creative dreams.

http://www.robgon.com http://www.annakristinadesigns.com

controlled by electronics and powered by batter-ies concealed in the crown of the hat allowing it to operate independently of the stand. It can be comfortably worn by a patron and if the wearer of can spin at close to 33 1/3 RPMs, onlookers can view the animation.

The StandA mid-20th century portable record player and a record have been used as the base for the stand. Mounted at the center of the record is a tall shaft on which the hat sits. The record is a custom printed vinyl recording of a new reading of “The Futurist Manifesto of the Hat.” When the Stand is activated, the record plays the manifesto and the hat displays its animation.

bio Dave Gordon is a new media and tech artist who works with photography, animation, sculpture, and electronically mediated interactivity, separately and in combination. His work is often rooted in notions of collage and found object assemblage and frequently concerns itself with issues related to technology past and present. Dave has shown his work in galleries regionally and nationally and his animation has won awards internationally. He is the creator and curator of the Eadweard Muybridge Online Archive www.muybridge.org. He has taught digital imaging and new media courses in and around Boston. He recently left his position as Artist in Residence at the Charles River Museum of Industry and Innovation to pursue new opportuni-ties in Florida. Dave completed his undergraduate work at Oberlin College and graduated from the Interactive Telecommunication Program (ITP) at the Tisch School of the Arts, NYU.

http://www.enlightenedmonkey.net

Dave GordonFuture HatMixed media

Future Hat is a work of art that explores notions of futurism during three periods of rapid technologi-cal change: pre WWI late industrial revolution, post WWII analog electronics revolution, and early 21st century digital electronics revolution. This is accomplished by combining iconic technologies and aesthetic elements from each era into a single multimedia artistic experience. From the Indus-trial Revolution, the piece incorporates zoetropic motion pictures, the top hat, and The Futurist Manifesto of the Hat by Filippo Tommaso Marinet-ti. From the mid-20th century, it include an analog electronic record player and imagery from the space race. Finally from the 21st century, Future Hat present LEDs, modern electronics, digital pho-tographic reproductions, and the hacker esthetic of repurposing technology to create boutique elec-tronic devices.

Future Hat consists of two parts, a hat and a stand. The hat displays stroboscopic animation when spun either by the motorized stand or, for maxi-mum interactivity, a wearer of the hat. The stand produces audio and spins the hat.

The HatA white top hat with a six inch crown has been created with three sets of twenty-four sequential images, of two Apollo space launches and an archer shooting an arrow. Embedded in the brim of the hat are a series of LED lights which strobe when the hat is spun. This causes the sequential images to animate, the rockets to appear to launch and the archer to appear to shoot. The strobe lights are

Benjamin GrosserComputers Watching MoviesHigh-definition video with stereo audio, 15 minutes

Computers Watching Movies shows what a com-putational system sees when it watches the same films that we do. The work illustrates this vision as a series of temporal sketches, where the sketching process is presented in synchronized time with the audio from the original clip. Viewers are provoked to ask how computer vision differs from their own human vision, and what that difference reveals about our culturally-developed ways of looking. Why do we watch what we watch when we watch it? Will a system without our sense of narrative or historical patterns of vision watch the same things?

Computers Watching Movies was computation-ally produced using software written by the artist. This software uses computer vision algorithms and artificial intelligence routines to give the system some degree of agency, allowing it to decide what it watches and what it does not. Six well-known clips from popular films are used in the work, enabling many viewers to draw upon their own visual memory of a scene when they watch the work. The scenes are from the following movies: 2001: A Space Odyssey, American Beauty, Inception, Taxi Driver, The Matrix, and Annie Hall.

bio Benjamin Grosser creates interactive experiences, machines, and systems that explore the cultural, social, and political implications of software. His works have been featured in Wired, The Guardian, The Atlantic, the Los Angeles Times, Slate, Make, Neural, Creative Applications Network, Corriere della Sera, El Paîs, Der Spiegel, and The New Aes-

Andrzej MaciejewskiHoover Spirit S3637-050 / Vacuum Cleaner Logitech M-M35 / Computer MouseArchival pigment print on fiber-based paper

I completed this series in 2013. It features 42 co-lour photographs of parts taken out from various devices, which we use everyday in our homes. The photographs were taken with 4x5 analog view cam-

thetic. The Huffington Post said of his Interactive Robotic Painting Machine that “Grosser may have unknowingly birthed the apocalypse.” Grosser’s Facebook Demetricator was part of The Public Pri-vate at Parsons in New York curated by Christiane Paul, and his ScareMail was part of PRISM Breakup at Eyebeam. His recognitions include awards from Terminal, Creative Divergents, and NASA. Grosser holds an MFA in new media and an MM in mu-sic composition from the University of Illinois at Urbana-Champaign, where he now teaches in the School of Art & Design.

http://bengrosser.com

James Manning(Looking) PixelsInkjet print on archival paper

Dirty Pixels is an ongoing series of photographs that I have taken of various public video board displays.

With close viewing these displays, which may seem to be an advanced and digitally perfect form of technology for displaying all manner of informa-tion, quite often have glitches, malfunctions and other types of distortions which are both distract-ing and curious to look at.

By taking these undesired effects in to account one can see take these images to a new level as these various imperfections create a new level of viewing completely different from their original message, context and intent. Upon close examination these high tech electronic creations resemble traditional moiré patterns one gets with traditional printing, the very technology these displays were designed to replace.

The images in this series were shot in Times Square, NY and Gillette Stadium, Foxboro, MA

bio James Manning is a Boston based multimedia art-ist, curator and arts administrator.

As an artist he has shown in numerous exhibitions in the United States and Canada. He is a member of the collaborative group The Institute For Infi-nitely Small Things. James has produced numerous short films often collaborating with other Boston

era on color transparencies. See more images and info at: http://www.klotzekstudio.com/Alien01.html

bio Andrzej Maciejewski was born in 1959 in Poland. He studied at Warsaw College of Photography (Po-land), Polish Society of Art Photographers School(Poland) and College of Photographic Arts in Ostrava (Czechoslovakia). In 1985 he immigrated to Canada. He worked as a commercial photogra-

pher in Toronto until mid-1990’s. Then he moved to the countryside in Eastern Ontario and switched entirely to art. He published 4 books: Bread (1996), Toronto Parks (1997) After Notman (2003) and Garden of Eden (2012). After Notman was a best-seller in Canada and has been widely discussed internationally. Andrzej Maciejewski exhibited in Canada, USA, Poland,UK, Germany, Norway,Latvia, Finland and Uganda. At this moment two of his series: Garden of Eden and Weather Report, are on world tour, visiting several venues in Europe and North America. His works may be found in many private and public collections, including National Gallery of Canada. Additionally, he teaches pho-tography in Fleming College, Haliburton School of Arts, ON, Canada.

http://www.klotzekstudio.com

Michael Mittelmanhand.007Laser Cut Sheet Acrylic, Wood, LEDs

This work is in my series of hands created by cut-ting sheets of acrylic (Plexiglas) and stacking them together. In this work the hands create a void which can be occupied by a small creature, and air holes are provided for ventilation.

bio Michael Mittelman has been working at the intersection of art and technology for nearly 20 years. Michael has been a member of the Collision Collective nearly since its inception. His work has been shown at the DeCordova Museum, List Visual Art Center and Turbulence.org. Michael’s work has been reviewed in Art in America, Art New England, The Boston Globe and El Pais

http://www.expandedfield.com

Mary MurrayModica WayComputer, screen, projector

An interactive installation that allows visitors to explore how a graffiti mural changes over time as existing images are painted over by new artists.

My aim for this project was to create an interface that works as an intuitive metaphor - pushing for-ward moves the user forward in time by displaying more recent images.

The artwork I used is from a graffiti mural in Central Square, Cambridge MA. The mural is frequently repainted, and by photographing the mural weekly I was able to capture the mural as it changed over time. Sometimes the changes were gradual evolutions; at other times the mural changed suddenly when large sections were com-pletely painted over.

bio Mary is an interactive designer and artist who is in-terested in how interactivity can be used to explore time. She lives in Somerville, Massachusetts.

http://mary-murray.com

area artists.

James is also a contributor to Big Red and Shiny and has worked as a curator, exhibition installer and art administrator, producing and installing hundreds of exhibitions in his career.

Sarah RushfordPick-up SticksWooden shelves, pickup sticks game, light, graphite block, lens

A game of pickup sticks is in process and is being surveyed by live projection through a small lens onto a block of polished graphite. The projection onto the graphite is inverted, but very recognizable as the players hand and the game being played. The quality of the projected image is strange and exquisite.

The intention of the work is to mediate the interac-tion between players of this dexterity game, and to mediate thier noticing of the strange mediation. The other intention is to present the entire piece, players included, as a work of art.

bio Sarah Rushford is an interdisciplinary artist, writer and designer. She lives and works in Boston. She earned her BFA from Hartford Art School in 1998 and MA in Media Studies from The New School in 2001. As a multimedia artist she is currently work-ing in writing, video and collage, and has recently completed art and writing residencies at TAKT Kunstprojektraum in Berlin and Art Farm in Ne-braska. Sarah has exhibited in Boston, New York, Los Angeles and Berlin.

www.sarahrushford.com

Erik Sanner and Kazue TaguchiuntitledVideo and Mylar

description text

bio Erik Sanner is a visual artist living and working in Harlem, NYC originally from Wellesley, MA. He is represented by LICHT FELD Gallery in Basel, Switzerland. He has recently exhibited at Tria Gallery (NYC), the Courtauld Institute of Art (London), the Danforth Museum (Massachusetts), and Carmichael Gallery (LA). Sanner’s overarching goals include expanding our experience of paint-ing by utilizing technology, promoting awareness of traffic cone aesthetics, and collaborating with artists and non-artists alike to realize projects no individual would have imagined or executed with-out sharing their visions and cooperating together.

http://eriksanner.com

Fito SegreraTRANS-ELEMENTAL / Mixed Reality InstallationAluminum stand, metal box, micro-controller with DC motors and servo, wind chime, video projector, computer

Can natural elements from a virtual reality takesolid form and exist in our physical reality? Can virtual particles affect real world molecules?

This project is a mixed reality installation in which the wind of Second Life is used to move a windchime in real physical space. The virtual wind’s direction and speed are the variables that deter-mine the device’s functionality in real time. This work creates a parallel between these two realities (virtual and physical), showing how they relate and interact with each other, creating a portal from one world to the other.

bio fito_segrera is a Colombian contemporary artist based in New York City. He is currently a Fulbright Scholar and a MFA candidate at Parsons. His creative practice has focused on problematizing around topics such as: the origin of virtual worlds, the avatar as an extension of the human body and how it acts upon the construction of identity, the metaverse as a metaphor for the universe its creation and evolution, among others. His current art work explores the relationship between technol-ogy and the human body/mind system; concepts as

“trans-humanism”, “cyborg”, “open source human” are often labels for his wearable devices. His main exhibitions are, Reactivations 2009, Bogotá Bien-nale 2009, Drwawing is a lie 2009, Ripping – mix, burn, rip 2010, La residencia - Tunja 2012, Web 2.0 - Espacios alternativos 2012, La Otra Cartagena 2013.

http://www.fitosegrera.com/

Anne Morgan SpalterTopio: Digital Video Coffe TableMaple wood with black stain, tempered glass, commercial Samsung screen in custom enclo-sure, digital file on CF card.

The first digital video fine art coffee table. A hit at SCOPE: Miami Beach in December 2013, the piece features my digital video work: Bora Bora: Palm Fronds. Based on original footage shot in Bora Bora, the regular leaf structure of palms trees and strong island lighting help create endless geometric investigation of the green palette. (Other videos can also be shown.)

The table is a custom-made hard-wood fully func-tional piece of furniture. Topio (from the Greek word for landscape) takes my “modern landscapes” art work off the wall and out of “TV mode” to

Daniel TemkinGlitchometry StripesInkjet print mounted on lightbox

Each image begins as a series of vertical black and white stripes. They are sonified -- imported into an audio editor. Sound effects are added to individual color channels, transforming the image. Because the tool is used in an unconventional way, there is no immediate way to monitor the effect. The image manipulator has a sense of what each effect does, but no precise control over the result. These sound effects -- flanger, dynamic delay -- curve the initial lines, creating images reminiscent of Op Art artists like Bridget Riley and Victor Vasarely. It is a wrestling with the machine, -- as Curt Cloninger describes databending, “like painting with a very blunt brush that has a mind of its own.”

bio Daniel Temkin (b. 1973, Boston) makes images, programming languages, and interactive pieces ex-ploring our inherently broken patterns of thought. He uses software as a collaborator rather than a tool, exploring the collision between human ir-rationality and the irrationality of algorithms run wild.

Daniel has spoken widely to both art and hacker audiences about how programming languages function as art pieces, including at Media Art His-tory conferences in Riga, Latvia and Liverpool, UK, the GLI.TC/H conference in Chicago, #ArtsTech

become the center of a room and integrate with its environment. The embedded screen is a custom-made professional signage design with commercial screen that can run flat and run 24/7. No remote controls needed. Dimming knob under table.

bio Anne Morgan Spalter is an artist and author whose career reflects her long-standing goal of integrat-ing art and technology. Drawing inspiration from painting, mathematics and Islamic art, Spalter shoots original footage in cities around the world and uses personalized software to develop pat-terned compositions that explore the concept of the “modern landscape” and work to bring order to visual complexity.

She shows widely and her work is included in lead-ing contemporary collections in the US, Europe and the Middle East as well as in museums such as the Albright-Knox (Buffalo, NY), the Rhode Island School of Design (RISD) Museum (Providence, RI), and the Victoria & Albert Museum (London, UK).

Spalter created and taught the first fine art digital media courses at both RISD and Brown University. Her book, The Computer in the Visual Arts, has become a standard reference text. Roger Mandle, former Executive Director of the Qatar Museums Authority, described Spalter’s book as, “a seduc-tively articulate and illuminating introduction to the rapidly expanding world of the computer and art, design, and animation…”

Spalter was a long-time member of the Advisory Board of the Digital Art Museum (Berlin), and has also served on the editorial board of the Journal of Mathematics and Art, and the ACM SIGGRAPH Committee for the Distinguished Artist Award for Lifetime Achievement in Digital Art. She has a BA from Brown in Mathematics, Visual Art, and an independent major, as well as an MFA in Painting from RISD.

http://annespalter.com

David Van NessGlitched Dog FightSteel, Objet Verowhite Plastic

The piece was created by first modelling a pair of dogs fighting. Then once that was completed the file was edited using a hex editor. The file was in-tentionally pushed to the breaking point and then had to be pieced back together in MeshLab and a few other 3D file editing softwares. The final result is a collobration between myself and the computer.

bio David Van Ness is an artist from Flagstaff, AZ. David has been working with 3D scanning and printing since 2006 when asked by a gallery in New York to produce 500 stacking cows. David is cur-rently the Coordinator of Foundations for North-ern Arizona Univeristy.

Jeffu WarmouthUp Cardboard box, electronics, 5 min video loop

A small-scale video installation in a cardboard mailing box. Multiple iterations of the artist at-tempt to jump out of the box.

bio Jeffu Warmouth was born in San Diego, California in 1970. He received a BA from the University of Michigan in 1992, and an MFA from the School of the Museum of Fine Arts / Tufts University in 1997. He lives in Groton, MA and works in Fitch-burg, MA, where he is Professor of Communica-tions Media at Fitchburg State University.

Warmouth’s work has been exhibited and screened internationally, including the DeCordova Museum (Lincoln, MA), John Michael Kohler Arts Center (Sheboygan, WI), Boston Center for the Arts (Bos-ton, MA), The Art Complex Museum (Duxbury, MA), Art Interactive (Cambridge, MA), Green Street Gallery (Boston, MA), SHOW Gallery (New York, NY), Tufts University (Medford, MA), Pitts-burg State University (Pittsburg, KS), University of Massachusetts (Lowell & Amherst, MA), Children’s Hospital (Boston, MA), Kaunas Photo Festival (Kaunas, Lithuania), MicroCineFest (Baltimore, MD), Brainwash Film Festival (Oakland, CA), Bos-ton Cyberarts Gallery, and the Experimenta Media Arts Tour (originating in Melbourne, Australia). In 2014, the Fitchburg Art Museum in Fitchburg, MA will feature Warmouth’s mid-career retrospective Jeffu Warmouth: NO MORE FUNNY STUFF!

http://jeffu.tv

and the LISA salon in NYC, Notacon, and Hack-ers on Planet Earth. His programming language Velato, which requires programmers to write mu-sic to control code, belongs to the runme.org soft-ware art collection. His work has been shown at Mass MoCA, American University Museum, and featured at galleries such as Christopher Henry, Transfer, Higher Pictures and Carroll/Fletcher.

http://danieltemkin.com/

Cover image Stills from //Electro-luminescent Rock// by Anna Comiotto and Manuel Schüpfer

Special thanks to George Fifield and Boston Cyberarts Gallery,

Stephanie Dvareckas, Mark Stock, Bob Kephart, Jim Manning, and Jennifer Lim

About Boston Cyberarts Gallery Boston Cyberarts, Inc. is a non-profit arts organization created to foster, develop and present a wide spectrum of media arts including electronic and digital experimental arts programming. We exhibit and promote the media and digital arts of Boston, New Eng-land and the world to audiences in the New England region and beyond and by doing so, helping to promote a sense of media and digital literacy, locally and regionally.

About the curatorsBill Tremblay is an an artist, curator and web programmer. His work addresses issues of human interaction with the technological world: the choices we make and the prices we pay. He tends to create machines and large scale installations. His work has been shown in numerous venues, among them the Kitchen in New York, Boston’s Computer Museum, the List Center for Visual Arts at MIT, the Institute for Contemporary Art in Boston, The Boston Center for the Arts, Art Interactive, and First Night Boston. He is co-inventor of the Virtual Reality Chair, for which he holds a patent. He attended the Studio for Interrelated Media at the Massachusetts College of Art. He lives in Boston where he opportunistically employs robotics, video and other technologies in ways they were never intended to be used. Bill has been involved with COLLISIONcollective since 2003 and currently serves as its director.

Georgina Lewis is an artist, writer, and occasional curator with an immense fondness for information. She works at the MIT Libraries. Georgina received her MFA in sound art from Bard College and holds undergraduate degrees from Franklin and Marshall College and the School of the Museum of Fine Arts Boston. She has been an artist in residence at the Millay Colony and the Virginia Center for the Creative Arts; her work has been presented at numerous venues in the US and abroad. Georgina was a 2012-13 metaLAB Fellow at Harvard University; she is currently a fellow at MIT’s Hyperstu-dio. Georgina is one of the Studio Artists at the Boston Center for the Arts in Boston’s South End and is a member of the Advisory Board of Artmorpheus.