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Dirge Cruft

Everyday this cruft uses recent information located on the website of the Department of Homeland Security. The latest security information is downloaded and combined with the name of the current season, as well as words associated with that time of year. All of these words are arranged in a kind of poem/haiku/dirge and uploaded to this page.

Mission Statement: Department of Homeland Security

Homeland Security Act of 2002

Title I - Department of Homeland Security
Sec. 101. Executive Department; Mission

(a) Establishment. - "There is established a Department of Homeland Security, as an executive department of the United States within the meaning of title 5, United States Code.
(b) Mission
(1) In General. - The primary mission of the Department is to
(A) prevent terrorist attacks within the United States;
(B) reduce the vulnerability of the United States to terrorism; and
(C) minimize the damage, and assist in the recovery, from terrorist attacks that do occur within the United States."

From the Homeland Security Act of 2002

Read the entire text of the Homeland Security Act of 2002 (PDF, 187 pages - 526 KB).

CRUFT: Art from Digital Leftovers

I make work that spans computational art, performance, installation, painting and object-making, using collage, remix, automation, indeterminacy, and randomness to bear upon the computer and the Internet as machines that regulate and restrict just as much as they can be used to disrupt and resist dominant codes of seeing and being.

My art practice reflects on our relationship to media technologies, especially surveillance and mind control, and in the process contemplates what a post-human art may look like. 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.

Digital collages called Cruft are created by scraping the web using computational algorithms that remix mainstream media sites like CNN with social networks of individuals, and reproduce, in mimicry of the 24/7 media cycle, the narrow choices permitted in public discourse. In another series of recent work, Machine Vision, I recombine footage from surveillance cameras with other media, to explore the relationship between war, surveillance, and automation within an overall machine aesthetic.