Panopticon Cruft (fragments)
Working in collaboration with the Department of Homeland Security, I produce this cruft by processing recent information on the government web site, transforming text into a short poem.
Images from an online surveillance camera used to ensure our safety makes a record of all activity. These surveillance images are processed into a video and the poem becomes the scrolling text along the bottom to create this Panopticon Cruft.
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.