the project room chelsea museum ny
JOHN F. SIMON, Jr., HD TRAFFIC, 2009
software and HD video
b. 1963, Louisiana. Lives and works in New York.
MARK NAPIER, PAM STANDING, 2009
custom software, computer, monitor, generative animation. Overall: 42 x 24 x 7″ / 106 x 61 x 18 cm; Screen: 23 x 15 x 4″ / 58 x 38 x 10 cm edition of 3
b. 1961, United States. Lives and works in New York.
Mark Napier is recognized as one of the first to explore the potential of the Internet as a space for public art. Breaking boundaries of ownership in early web-based works such as Shredder (1998), Riot (1999), and Feed (2001), Napier questioned fixed designs of web navigation, opened content choices to users, and dissolved information into abstract expression. His recent works investigate monumentality, permanence, skin, the body, obsolescence, mythology, and architecture.
Commissioned to create Internet art for the permanent collections of the Solomon R. Guggenheim Museum and the San Francisco Museum of Modern Art, Napier was also part of the 2002 biennial at the Whitney Museum of American Art. Exhibitions of his work include Centre Pompidou, Paris; P.S.1, New York; Walker Art Center, Minneapolis; Ars Electronica, Linz; The iMAL Center, Brussels; Eyebeam; Markel Foundation in Rockefeller Center; Center for Curatorial Studies at Bard College; Princeton Art Museum; la Villette, Paris, W Hotel, Seoul; Lafayette College; and Cleveland State University. He has received grants from Creative Capital, the Greenwall Foundation, and the New York Foundation for the Arts.
About the Work
PAM Standing is a new-media Venus: a body re-formed from fragments scattered across the web. This generative screen-based work is a mashup of hundreds of images of Pamela Anderson downloaded from the Internet. Body parts of the pop-culture diva are joined together to form a virtual marionette that moves puppet-like on the screen. Flesh tones blend with numbers, lines and arrows that reveal the skeletal framework of the figure. In a reversal of Cubism, the female figure is “de-fragmented”, rejoined into one seemingly complete body from it’s media representation. Part reflection and part parody, PAM Standing explores sexuality in a world dominated by digital media and global information networks.
Courtesy: bitforms gallery nyc
Alice’s Adventures in Wonderland TextArc 2001-2010
A TextArc is a visual index that draws an entire text, line by line, around the outside of a page; then repeats the text, word by word, just inside. If a word occurs more than once it’s drawn larger, at the centroid of all its occurrences. This lets one see which words are used mostly in one place (they’re pulled toward that place) and which are distributed in a more interesting way. Stars (“distribution glyphs”) next to each word point to every occurrence.
CodeProfiles was written August 9-15, 2002 for the CODeDOC exhibition at the Whitney Museum of American Art; commissioned by Christiane Paul whose curatorial agenda for the show became the organizing thesis of the print.
Once more around the sun is a calendar designed to allow easy travel conflict spotting (since you can circle contiguous days with no weekend breaks), and to let people mark the more important events during the year with one or two words. It is printed yearly on newsprint-like (though high-quality) stock, folded, and distributed in packages of three to help people feel comfortable using it as a scratch pad on which to plot their lives; inventing their own visual language as they go.
W. Bradford Paley, Dick Klavans, Kevin Boyack
This “map of science” was constructed by sorting roughly 800,000 scientific papers into 776 different scientific paradigms (shown as colored circular nodes), based on how often the papers were cited together by authors of other papers. Links (thin curved lines) were made between the paradigms that shared common papers, then treated as rubber bands; holding similar paradigms closer to one another while a physical simulation forced them all apart. Thus the layout derives directly from the data. Larger paradigm circles contain more papers. The feather boa-like labels list common words unique to each paradigm.
SCOTT DRAVES, GENERATION 243, 2009
Original software, nonrepeating playback of 12GB of 1080p nonlinear video, internet community consisting of 350,000 people and computers
AARON KOBLIN AND CHRIS MILK, THE JOHNNY CASH PROJECT, 2010
music video, collaborative web project
JAMES FROST (Director) and AARON KOBLIN (Director of Technology), HOUSE OF CARDS, 2008
music video, interactive data viewer, source code
band Radiohead into a three-dimensional particle-driven data experience. The code and data were launched on Google Code as an open source “music video without video” project. Aaron Koblin was Director of Technology. With Director James Frost and a bunch of other great people, lasers and sensors were used to create a 3D data “music video”. The project was launched as an Open Source project on Google Code. An interactive online viewer (created along with Aaron Meyers) allows for 3D investigation of the data online. Nominations in 2009 include a Grammy for Best Short Form Music Video, UK VMA for Best Rock Video, and British Design Museum Awards.
VICTORIA & ALBERT MUSEUM http://www.vam.ac.uk/microsites/decode/