Using the grid which underlies much of New York artist Ernst Benkert's work ("Responsive Eye", MoMA, 1966), Next! provides sixteen short (90 second) videos for the user to pick between (or repeat or skip over). The user's choices assemble their own path (narrative) through his life, work and ideas. More poetry than prose, these videos also aim to enact the aesthetics of Benkert. Often obsessed with the challenges and limitations of two dimensional representation (abstract and figurative), Benkert proves to be an inspiration for another two dimensional form - video.
I am fascinated by the worlds of the real and the unreal, and the places in which they meet and overlap, such as the mirror. My own practice stems from this, as I aim to create immersive spaces for the spectator to interact with and explore, or which hint at the unknown space beyond &emdash; that the spectator can experience if they open their mind to 'step inside'. I decided to create something that would give the spectator the feeling of traveling through the mirror to the other side, where nothing is where it seems.
"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.
Living room Plankton is an interactive installation inspired by plankton and lichen species. While a virtual organism grows and reacts according to the surrounding environments, LRP brings to discussion two aspects which became popular on artistic practice: interactivity and artificial life. As in Myron Krueger's "responsive environments", LRP arises from the "collaboration between the artist, the computer, and the participant" and through system interactions or by other words, growing and living in autonomy, depending on the environment conditions.
Object of celebration for the feast of the 40th anniversary of the School of Design at PUC. It starts from the conception of understanding celebration as tribute, which is achieved and articulated through time and the development and experience of a ritual around users. In this respect, and understanding the ritual as the representation of an special event, the object works both contextualizing the celebration and as a central coordination element of the different times and intensities of the event.
Blue Lacuna is a long-form work of interactive fiction (IF) containing nearly 400,000 words of prose and natural language source code, an explorable novel telling a serious story about the nature of choice and happiness. The piece simplifies standard IF syntax with a unique interface: to advance the story, readers type highlighted keywords indicating objects of interest, directions to explore, or topics to pursue during conversation. It also understands a wide range of input, including vague commands like I DON'T KNOW WHAT TO DO or WAIT FOR A WHILE.
This space is the home of Modernist Marvel, a tongue and cheek homage to soaring modernist architecture. Modernist Marvel is a heuristic user interface, an appliance that leads the visitor through a number of glacial, time based algorithmic artworks that demonstrate a bridge from my work in Quicktime VR to work in the virtual world of Second Life. Also in this space is a monolithic site specific work entitled "Hostile Space" which is not really hostile but rather explores the personal space of the avatar and a massive volume of virtual space. Other works are scattered in the vicinity.
Proxemi9 is an experimental work in progress anchored on Edward Hall‘s concept of personal space (proxemics) as it relates to the growing social problem of crime against women in public spaces, cities and urban communities across Africa. Proxemi9 explores through technology a designer‘s interpretation of growing gender-based violence against women in urban/public spaces across the African continent.