Rupture Cruft (Drone Study #2)
This cruft image is created by regularly downloading and processing an image from the Great Sand Dunes National Park.
I visited the Great Sand Dunes National Park in the summer of 2013, and climbed the tallest sand dunes in North America, which rise about 750 feet. It was impressive to experience landscape that was in constant motion, like standing in a river as it rises and falls away. The metaphor of digital leftovers flowing through the network came to mind. Grains of sand not unlike digital images streaming past. This cruft image captures snapshots of this moving landscape, and processes them in a way that the motion of the landscape is slowed down. Looking at the image archive one can feel the motion at a new temporal pace. The power of the Great Sand Dunes National Park is that one can experience erosion at an accelerated speed and at a visceral level, as the sands and rocks are blown literally into ones skin.
The Rupture Cruft images are studies for the larger project Machine Vision: Images of Drone Landscapes.
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.