| Project |
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Description |
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| ebayaday: A view to call your own, you must see it to believe it! |
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Dec. 2006 |
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| Iraqi Quagmire |
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Nov. 2006 |
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| SEEN: fruits of our labor |
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Aug. 2006 |
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| unviewed |
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Jun. 2006 |
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| Khan Artist |
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Weapons of Mass Consumption - Act 5: Resurrection
For the macro well being of a capitalist system, what is actually bought or sold becomes secondary to the actual act of consumer transactions transpiring. |
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Jun. 2004 |
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| Net Worth |
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Weapons of Mass Consumption - Act 3: Reflection
Net Worth is an interactive installation that explores a new value/worth system for our information dependent society |
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Jun. 2004 |
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| Art Dispensing Machine |
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Weapons of Mass Consumption - Act 2: Transformation
ADM dispenses unique art for the visitor based on their credit card information. |
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Jun. 2004 |
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| Data Dump |
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Weapons of Mass Consumption - Act 1: Revelation
Data Dump addresses the notion in everytime we swipe a credit card or an ID card,
we not only initiate the purchase of something or gain entrance, etc. but also leave a trace of data behind.
A trace that is directly linked to the individual and their identities.
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May. 2003 |
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| Para[site] |
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Para[site], is a project in which an architectual space is infected by Autonomous Electromechanical Instruments which feed off their host by physically
striking the structures of the building for sound generation. |
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Jun. 2003 |
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| I pledge allegiance |
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Sculpture made in response to USA's military actions in Iraq. |
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May. 2003 |
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| mis(sed)communication |
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mis(sed)communication aims to place the video window between nations/people in conflict. |
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Apr. 2003 |
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| We interrupt your regularly scheduled program... |
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In reinterpreting the broadcast stream by abstraction and time lapse, Flow
paints an reimagined TV landscape. |
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Mar. 2003 |
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| Sur la table |
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Sur la table is an interactive table that uses a camera as input for interaction. Any non-white object placed on/over the table will bleed it's colors/image down the table. |
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Mar. 2003 |
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| Fingerprint |
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Digit traces in a digital world.
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Jan. 2003 |
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| Disorienting Cinema |
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Disorienting cinema examines the notion of relocating the moving images to an elevator. It is a continuing effort of thinking about cinema for the mobile individual. |
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Jan. 2003 |
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| Paranoid Profiler |
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Project commenting on use of technology as means of control and also notion of profiling individuals based on xenophobia |
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Dec. 2002 |
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| icefall |
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Visuals derived from hours of TV recordings for another project and reused for this little ditty |
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Sept. 2002 |
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| happenstance: ideas for mobile cinema |
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Using machine Vision technologies and concepts of augmented reality to create an engine that allows for creation of mobile cinematic events |
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Nov. 2002 |
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| Interpretations of the Situationist Internatoinal's Derive in context of LA and the automobile |
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- Tale's from a city: a city speaks, affordance of grammar and creation of vocabulary. The derive as fictional narative |
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Sept. 2002 |
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| Sorry Sir, we have no electricity |
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What becomes of media art when you no longer can depend on the availability of electricity? |
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Sept. 2002 |
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| Xeroxography |
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Subverting the use of a copy machine |
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Sept. 2002 |
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| Poloroids |
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Photographs using a Poloroid Joycam |
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Sept. 2002 |
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| Tweedle Dee / Tweedle Dum |
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Sculpture |
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Sept. 2002 |
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| Glaser's collision |
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Sculpture |
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Sept. 2002 |
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