False Positive Cruft
(Reparation for Events Real and Imagined)
This cruft algorithm selects search terms from a compiled list of life events that most people document with photographs. The search term is passed into Yahoo! Image Search, one of the resulting images is selected and a nostalgic filter is applied. With our network connected mobile devices the time between living an event and documenting that event has collapsed. The Internet is becoming one large database of shared social experiences that this work relies upon as source material. Every time this program runs, an image is pulled from this database, processed with a filter not unlike those used by Instagram, shared on my website, and then archived. This new CRUFT builds upon the collected images uploaded to the Internet, to create an ongoing narrative speaking to reparation for events real and imagined.
Needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted. Industrial societies turn their citizens into image–junkies; it is the most irresistible form of mental pollution. Poignant longings for beauty, for an end to probing below the surface, for a redemption and celebration of the body of the world—all these elements of erotic feeling are affirmed in the pleasure we take in photographs. But other, less liberating feelings are expressed as well. It would not be wrong to speak of people having a compulsion to photograph: to turn experience itself into a way of seeing. Ultimately, having an experience becomes identical with taking a photograph of it, and participating in a public event comes more and more to be equivalent to looking at it in photographed form. That most logical of nineteenth-century aesthetes, Mallarmé, said that everything in the world exists in order to end in a book. Today everything exists to end in a photograph.
— On Photography, Susan Sontag
CRUFT: Art from Digital LeftoversThe relentless flow of information on the Internet that quickly becomes digital leftovers is examined by my art practice to reveal a relationship in which we don't simply consume media, but are also consumed by it. I explore the Internet as source material to be appropriated, taken apart, juxtaposed, and recycled by writing computer code that is automated and runs on a 24/7 schedule producing a form of collage I call Cruft. The resulting artwork allows me to investigate broader issues of originality, authorship, reproduction and temporality.
In response to the intense pace and constant change happening online, my art practice includes a slower and thoughtful method of applying traditional media such as charcoal, paint, wax and ink, to prints of selected Cruft images. These analog images are created over longer periods of time resulting in a meditative process that subverts the goals of speed, spectacle and distraction, offering an opportunity for slower looking and deeper thinking compared to the crushing overload of an endless stream of Cruft produced by automated computer processes.
The Internet has the ability to provide freedom by connecting us at great distances, democratizing the world's knowledge, and facilitating disruption and resistance to systems of power. It can also simultaneously provide control by restricting and regulating our thoughts and actions while propagating fear, divisiveness, surveillance and repression. My art practice delves into the very nature of the Internet, pulling at it’s strengths and exposing the flaws, producing what has been coined Post-Internet art, that by definition references the "network" that we all inhabit, and ultimately, it's effects on our society and culture.