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 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.