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IntroSpection.
The installation enables
people to interact with microorganisms and cells derived from their own
body in a non-invasive way. The contradiction of interacting with these
alien, unfamiliar life forms (which are nonetheless intimately
connected with our bodies) focuses on the boundaries between self and
non-self and the cultural interest in bioidentification. Animal
Nature Show, Miller Gallery, Carnegie Mellon U, 2005;
(Excerpts in Digital
Body Show, ICA, London, 2006)
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Body
Surfing. Cultural
theorists
claim that in our electronically mediated era the physical body is
increasingly
irrelevant. "Body Surfing" uses state of the art body sensing
technology
to ironically question this claim by allowing visitors to investigate
the
limitations and pleasures of the body through drumming, stretching,
dancing,
and running. SFSU Art Gallery,2000.
Revised version 2006
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Traces
of Culture Like the library at Alexandria, Egypt, the World Wide
Web
attempts to collect all the knowledge of the world. By unleashing
custom crafted real-time searchbots to rummage its images, Traces of
Culture
presents a series of interactive art events that ask visitors to
reflect
on this compendium and the process of search. SFSU Faculty Show,
2004; ACM
Multimedia Interactive Art Show, Columbia University Macy Gallery,
2004; FILE
2005 show, Sao Paulo, Brazil
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Protozoa
Games. Reflecting on animal experimentation and the
relationships
between species, the 'Protozoa Games' interactive installations allow
humans
and live protozoa to compete in a pinball-like environment mediated by
digital microscope and motion tracking technologies. In Follow-Me
humans score points by moving their bodies to match Protozoa movements.
In Control-Me humans score points by getting Protozoa to do their
bidding by stategies of domination or friendly
appeal.
Ylem Show - Interfacing Ideas Show - Blue Room Gallery, San Francisco,
2003
; Biodifferences Show, BEAP,
Perth Australia, 2004
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TransitTime.
The
installation
presents a sound/video/kinetic ‘infomatic’ event which changes in real
time based on the live position of San Francisco Muni trains
moving
about the city at the moment of viewing. Includes video that
matches
what passengers are seeing and the "Magic Muni Chair' that vibrates in
resonance with real train movements. YLEM Show - Somarts Gallery, 2001;
Exploratorium - Teleopolis Show, 2002
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50
Points of Light: 50
Points
of Light shows 14 world cities simultaneously via live web
camera
images. It asks viewers to explore the ways these places are different
and the ways they are becoming the same. Invited to be part of
Siggraph98
Pioneers show.
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CrimeZland.
A "Disneyland of Crime". Information Visualization event
featuring
new questions about the concept of crime and interactive extravaganzas.
Combined physical and internet event. Winner Honorary Mention 1998 Ars
Electronica Interactive Art competition. Paula Levine C-theory
Interview
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The
Telepresent,
The
present is a "magic" box with no wires that automatically sends images
from wherever it is to others who are watching via the Web. Each person
must decide where to take it and ultimately who to give it to.
Web
viewers can communicate via synthesized speech with the holder of the
present.
GPS locator shows web viewers the exact location of the present.
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MASTERCLASS
in Web/Multimedia Integration Copenhagen96. Invited as
one of three world artists to work as part of Copenhagen96 Cultural
Capital
of Europe activities to create a masterclass for Scandinavian
artists.
My class focused on teaching artists to act as researchers in cutting
edge
areas of inquiry. More information about Copenhagen96
and Global Galeri.
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ARTIST IN RESIDENCE NTT Research
Center, Palo Alto, CA.
Assisted policy
planners in conceptualizing theture of telecommunications.
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HOMESTEADS
IN MIND SPACE
La Finca / The Homestead project Valencia,Spain. Part of
International
team of artists using the Web to explore the concepts of the homestead
and colonization.My project focused on the meme as an idea that
"colonizes"
the mind and the role of the Web as a propagator of ideas. information.
Information about the Homestead
project.
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PAIR ARTIST IN
RESIDENCY at
Xerox PARC
Research Center, Palo Alto, CA Competitively selected to participate in
experimental artist in residence program. Worked collaboratively with
researchers
in invention of new multimedia information spaces. More information
about PARC
and the PAIR artist in residence
program.
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MEMORY
MAP SIGCHI
(Boston,MA)
, MULTIMEDIA94 Art Show, and DATA/DADA Show, Maryland Art Place,
Baltimore,
MD An interactive sound installation that maps memories and
anticipations
to physical space. Voices of older viewers come from in front of
current
viewer and voices of younger come from behind. Digital Video serves as
the main interface and 2 computers communicate via a network to execute
the event. 1995
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IS
ANYONE THERE? SIGCHI
(Monterrey,CA)
and SIGGRAPH (Chicago) Computer automatically calls selected pay phones
in the city 24 hours a day and uses intelligent programming and
digitized
speech to engage those who answer in conversations about their lives
and
their surroundings. Viewers using voice recognition an interactively
devise
multiple strategies to navigate record of conversations and related
digital
video. WINNER Golden Nica Ars Electronica International Competition for
Interactive Art. 1993 |
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INQUIRY THEATER.
Participants could take a virtual walk down Mission Street in San
Francisco's ethnic Mission neighborhood. Speech recognition
determined direction of movement and virtual entry into the
stores. Images were accompanied by music from countries of origin
for Mission residents. WINNER Honorary Mention Ars Electronica.
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ORATORIO
FOR RELIGIOUS
OPINION
V2 Group. 'S-Hertogenbosch, Netherlands An interactive sound
installation
creates an "opera" of voice by digitizing the opinions of citizens and
moving processed versions of their stored voices among several
loudspeakers
on a public square. Points of view get identified with particular
physical
locations. International Manifestation for Unstable Media . 1990
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FATHER
WHY ARS
ELECTRONICA,
Linz, Austria and Richmond Art Center A physical space serves as a
metaphor
for the emotional space surrounding the imminent death of a loved one.
Computer responds with digital speech and music to viewers walking
through
the places of anger, longing, sadness, and forgetfulness.1989
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EXCURSIONS
IN EMOTIONAL
HYPERSPACE
NCGA CADRE Show San Jose, CA Four computer controlled mannequins each
recounted
a fictional life event from a unique emotional perspective. Mannequins
were activated by a viewer's presence nearby. Movement to another
mannequin
caused the new one to reflect on the utterances of the previous dummy
from
its own perspective. The mannequins seemed to be actively listening to
each other. 1988
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DEMON
SEED, SIGGRAPH Art
Show, Anaheim,
CA Four computer choreographed moving and talking robot arms simulated
demons in various world cultures and were periodically controllable by
audience via velvet squeeze rods. Robots spoke with processed versions
of audience voices. 1987
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OCEAN
MERGE CSU Summer
Arts
program, San Luis Obispo, CA By reading the changing resistance of sea
water, the computer uses wave action to create a sound event of
changing
spatial location and digitized combinations of the viewers' voices with
sea mammal sounds. Prototype installation was built as invited
sculpture
for summer arts festival. 1987
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HI
STRANGER, WELCOME TO
CITY
HALL, SF Arts Festival. 1986 Interactive robots used synthesized
speech
and computer controlled video switching to simulate bureaucrats.
Commissioned
for City Hall lobby for festival.
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SYNTHETIC SPEECH THEATRE, CADRE
Festival, San Jose, 1986. 4
programmed
computer personalities conversed with viewers via synthesized speech
and
voice recognition. Computer enabled each voice to come from its own
space.
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PARADE OF SHAME, SF Cable TV & SIGGRAPH Art Show, 1985.
Home viewers
and visitors to the art show affected computer graphics via calls to
station
automatically processed by my computer program. Participants' choices
about
the pace, process and direction of evolution affected the unfolding
action.
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TIME ENTITY, SJSU and SFSU
Galleries, 1983-84. A computer
graphic and
sound representation of an artificial, time-sensitive lifeform
interacted
with viewers in a forest installation allowing them to send messages
forward
in time and to inspect specific moments in its life history.
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FLASHLIGHT THEATER. Art
Institute of Chicago. 1984. Audience members shape evolving
narative by activating fictional characters speech by pointing
flashlight at speaker boxes on the stage.
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PATENT:
INTERACTIVE PRINT
MEDIA,
1982. Invention of a technique applicable to various types of
print media
whereby electronic circuitry produces sound, light and other effects in
response to various inputs such as touch, position, sound, time, touch
pattern, etc.
(Featured
in Venture magazine as patent of the month)
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COMPUTERIZED STREET EVNETS.
1981. Bookspace Gallery, Chicago. Storewindows of gallery
respond 24/7 to passersby touch and to passing car lights. Four events
include: 1. Sound event with notes activated by touch spots. 2.
Audience graphic vote - algortihmic graphics voted on by passersby -
resulting graphic is composed by most popular elements to that moment.
3. hypertext
story with narative choices seleted by passersby. 4. performance events
ask
passersby to take actions by running to nearby landmarks.
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