Chris Chronopolous ‘Triangulation’ is the result of a desire to map timbral properties to spatial relations. The piece consists of a self-contained triangular prism with 16 IR sensors, and 2 speakers which serve as the inputs and outputs of the piece. Distance from each IR sensor is calculated using high-speed analog-to-digital converters (ADCs) which feed into a RaspberryPi running PureData. The PureData patch interprets the sensor data as the amplitudes of a chorus of voices, which together form a sonic space that is neither major nor minor, but complex enough to markedly sculpt in the space between your hands.
Caleb Neelon ”I work with my hands and get no pleasure from working with computers, but I get great pleasure from the things that can be brought into existence when I collaborate with people who do.”
This work freely crosses boundaries between graffiti, murals, and street art.
Mark Stock WAVE is an experimental video generated with custom fluid dynamic simulation software and methods. It is composed of three segments (blue, green, red), each with three phases (generation, freedom, enclosure). The rigid boundaries imposed by the frame and the rectangles contrast with the formless behavior of the flow itself. The colors evoke imagery of the ocean, earth, and fire, but the motion will be general, and represent neither.
Your Big Face
New American Public Art Your Big Face' is an interactive projection installation. Using a live camera feed, participants' faces are projected onto the canvas of a 12' tall polygonal 3D face. The work raises questions about the digital representation of self, surveillance culture, modern attention spans, and the narcissistic and voyeuristic qualities of modern culture. It is also just really fun.
27 Cubist Portraits
Thomas Wojciechowski Twenty-Seven Cubist Portraits is an ongoing project begun several years ago. Each portrait is a composite of a dozen or so photographs––parts of the face in extreme closeup––which have been merged in Photoshop. Like Cubist paintings, multiple views of a face are presented simultaneously, creating a distorted visage alternately disturbing or funny or beautiful. Because our brains are hard-wired to see faces in the normal configuration, a peculiar tension is inescapable, offering viewers a vehicle for the exploration and contemplation of their own emotional response. The multiplication of faces in a space, morphing at different speeds and competing for attention, seeks to engender a lived cubist experience.