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LogoType and Technological Surprise at Snowdome, Sunderland Museum & Winter Gardens 2006
LogoType and Technological Surprise at Snowdome

LogoType employs the artwork of a thousand corporate logos from an internet archive and generates an endless stream of superposed marques. The resulting animation, in which intersection, overlay and
other procedural editing techniques continually generate new hybrids and jamais vu-s, manipulates our perception of corporate propaganda and the media. Anaesthetisation from the torrent of commercial imagery
that is now unavoidable in the urban environment is contrasted in LogoType with the abrupt presentation of the familiar in unexpected context.

Technological Surprise is a dynamic computation of imagery originating from recently released US Defence Advanced Projects Research Agency records of remarkable contractor-led developments. These 'blue-skies'
activities, unprecedented in DARPA history, were conducted by isolated contractors, more on topics of civil control than with immediate military application. The material - largely intended for presentation to management - has a visual language rooted in early video games, yet the benign appearance of the imagery belies serious and often sinister consequences.

funded by the Arts Council of England and Culture10
 

 

 

 

MetaPlex, Futurecinema, ICC/Tokyo, 2003
MetaPlex 2002-05
MetaPlex is a navigable virtual space containing different types of audible and visual titles. These include still and moving images and interactive computer artworks. The projected imagery of the installation results from the viewers’ actions as well as from stored titles. Viewers traverse the virtual space using simple hand controls, encountering the contents as a collection or, upon closer inspection, at high resolution. MetaPlex enables more than browsing a collection of film and video art: rather, viewers move in a meta-medium within which the frames of a film can be navigated as easily as the space of a building - like Malraux’s Musee Imaginaire - a museum without walls. MetaPlex was shown at ICA London, ICC, Tokyo/Japan and Lothringer13Munich/Germany.

Some of the work included in MetaPlex: Perry Hobermann:Bar Code Hotel, Lang:Metropolis, Griffith:Birth Of A Nation, Chris Cunningham: Come to Daddy /All is full of love, BBC: Dr Who: Planet of the Daleks, Space Fall, ZKM Infermental collection/ICA collection, ( Institute of contemporary Art): 15 titles download MetaPlex essay
Technological surprise, LED screenshot, 2006
Technological Surprise
consists of a visual synthesizer which disects archive of material from governmentally funded defence research organisations on a high resolution LED display at Imperial College, London.
The role of these organisations is to assure the assendance of the industrial-military complex by applying state-of-the-art technology for military capabilities and to prevent technological surprise from adversaries.
Interrogating an archive of hundreds of projects from Warfighter Visualization to Counter Concealed Target Technologies flunk has extracted graphical elements that bear traces of the military mindset and the simplistic visual language employed to ensure obfuscation of such projects from the public gaze.

Technological surprise is showing at Department of Computing, Imperial College London, 180 Queens Gate, London SW7 2AZ in April 2006 Sponsored by streetvision

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mediasurface using LED strips, Ars Electronica  2005
mediasurface using LED strips, transpublic, Ars Electronica 2005
Mediafassade at transpublic produces site-specific graphical responses to the public space. It suggests a kind of “public wallpaper”, moving graphical elements, which alter speed in response to actions of passer-bys in the city.

The use of new technologies to skim the surface of buildings signals a rapid shift from a preoccupation with reflecting and refracting facades to the spatial and temporal possibilities of emitted and animated light.

The move towards such technologies mirrors the experiential and ideological shifts, which accompanied the rise of modernism, between symbolic program and emotional response. The building has become the image surface of itself, simultaneously both unified and transient. Each building becomes a 'signature' competing to enhance phenomenological experience through every increasing perceptual saturation and contextual disorientation.

Technology has propelled architecture further along a trajectory to a 'non place' in which its vocabulary is seductively inverted. Adaptive camouflage and sexual display are now the dominant modes, ones that openly articulate its imperative and theme, control.

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Maknite, Vienna 2004
Maknite, Vienna 2004

A 6mm pitch LED was installed around the balcony of the main hall to form a very long high definition display strip, and real-time computing filled it with 3D imagery.

A 6mm pitch LED was installed around the balcony of the main hall to form a very long high definition strip and real-time computing filled it with 3D imagery.

A mobile telephone base station received SMS messages from visitors and each message created graphical avatars in the virtual environment shown on the LED - the trajectory and behaviour of the avatars was generated from the text of the messages.

Each interaction between avatars created MIDI events, which drove a synthesiser and created music.