Great Transnational Nude Cruft
This cruft algorithm selects the name of a large corporation from a listing on Transnationale.org, and passes that name as a search term into Yahoo! Image Search. The search results of corporate imagery are then composited with a national flag downloaded from WikiMedia, as well as a recent image of a nude female from KindGirls.com to generate this cruft image.
...the point of public relations slogans like "Support Our Troops" is that they don't mean anything [...] that's the whole point of good propaganda. You want to create a slogan that nobody is gonna be against and I suppose everybody will be for, because nobody knows what it means, because it doesn't mean anything. But its crucial value is that it diverts your attention from a question that does mean something, do you support our policy? And that's the one you're not allowed to talk about.
Noam Chomsky. Interviewed by unidentified interviewer. WBAI. January 1992
Robert Spahr interviewed regarding the 'Great Transnational Nude.'
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.