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"making us 5 times stronger than steel on an equal weight basis..."

a selection of the twenty four cruft

Psychological Kevlar Collection

What is being called the Psychological Kevlar Act of 2007 suggests the use of the drug propranalol to treat the symptoms of posttraumatic stress injuries... (Kevlar, a DuPont fiber, is an essential component of U.S. military helmets and bullet-proof vests advertised to be "five times stronger than steel.") ...

Propranalol, if taken immediately following a traumatic event, can subdue a victim's stress response and so soften his or her perception of the memory. That does not mean the memory has been erased, but proponents claim that the drug can render it emotionally toothless.
Source: Pentagon, Big Pharma: Drug Troops to Numb Them to Horrors of War

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TWENTY FOUR CRUFT

An image is created at eight minutes past the hour.
This cruft algorithm extracts an image from the CNN home page once every hour as a snapshot of current events. Color and contrast is manipulated. The image is then collated and combined with images from the previous 23 hours. Recent events are in the foreground with past events receding from view.

Twenty Four Cruft 0503260808
twentyfour_0503260808.jpg  created 03/26/05 at 08:08
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Twenty Four Cruft 0505020908
twentyfour_0505020908.jpg  created 05/02/05 at 09:08
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Twenty Four Cruft 0505131708
twentyfour_0505131708.jpg  created 05/13/05 at 17:08
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Twenty Four Cruft 0508161208
twentyfour_0508161208.jpg  created 08/16/05 at 12:08
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Twenty Four Cruft 0506020508
twentyfour_0506020508.jpg  created 06/20/05 at 05:08
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Twenty Four Cruft 0506081608
twentyfour_0506081608.jpg  created 06/08/05 at 16:08
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Twenty Four Cruft 0508311608
twentyfour_0508311608.jpg  created 08/31/05 at 16:08
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Twenty Four Cruft 0507261608
twentyfour_0507261608.jpg  created 07/26/05 at 16:08
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Twenty Four Cruft 0504241608
twentyfour_0504241608.jpg  created 04/24/05 at 16:08
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Twenty Four Cruft 0507040108
twentyfour_0507040108.jpg  created 07/04/05 at 01:08
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Twenty Four Cruft 0507050708
twentyfour_0507050708.jpg  created 07/05/05 at 07:08
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Twenty Four Cruft 0508141708
twentyfour_0508141708.jpg  created 08/14/05 at 17:08
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Twenty Four Cruft 0504180308
twentyfour_0504180308.jpg  created 04/18/05 at 03:08
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Twenty Four Cruft 0507242308
twentyfour_0507242308.jpg  created 07/24/05 at 23:08
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Twenty Four Cruft 0504040608
twentyfour_0504040608.jpg  created 04/04/05 at 06:08
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Twenty Four Cruft 0507252008
twentyfour_0507252008.jpg  created 07/25/05 at 20:08
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Twenty Four Cruft 0507061908
twentyfour_0507061908.jpg  created 07/06/05 at 19:08
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Twenty Four Cruft 0507121808
twentyfour_0507121808.jpg  created 07/12/05 at 18:08
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Twenty Four Cruft 0504110008
twentyfour_0504110008.jpg  created 04/11/05 at 00:08
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Twenty Four Cruft 0505220408
twentyfour_0505220408.jpg  created 05/22/05 at 04:08
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CRUFT: Art from Digital Leftovers

My work includes traditional art practices in drawing, painting, printmaking, and sculpture. Recent work includes generative art, performance, installation, and network based art. My arts practice explores the Internet not just as a distribution platform but organized under the umbrella concept of Cruft. I take apart, juxtapose, recycle, and interrupt the relentless flow of media to reveal a relationship in which we don't simply consume media, but are also consumed by it. Computer code is automated and runs on a server which at specified times goes out to the Internet and scrapes source material from the web to then produce a form of digital collage. Each auto-generated Cruft is the digital residue created from the information flowing through the Internet at that moment. This work is then automatically uploaded to my web site for distribution to the viewing public. My work on Cruft has encouraged me to think about the nature of the unique art object and it’s dematerialization, from atoms to bits, allowing for potentially infinite copies.

Misdirection as Mass Deception
Like the magician performing sleight-of-hand to deceive and misdirect the eye, those in power tell us where to look and what to think. The mass media provides the stage where the deception unfolds focusing public attention with emotion and fear. Having been in lower Manhattan on September 11th 2001, I experienced first hand the collision of terrorism and warfare into the visual, resulting in our network connected screens compressing the time between living and documenting an event. The media showed images of the planes impact and the buildings collapse in a repetitive loop. Our screens became weapons of terror, the system of representation was hijacked and we were forced to relive those terrifying moments by viewing images presented as a never ending present. In 2003, as the United States invaded Iraq, I began to notice how the media presented images that contributed to fear and consensus, and as the images disappeared from view, I wondered what became of these digital leftovers and I then started creating auto-generated Cruft.