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Trough Cruft (post-american nude)

This cruft process downloads and manipulates an image from an adult website giving it the retro look of a newspaper or comic book. An episode description from a VH1 television reality show (www.vh1.com) is added to the image.

The irony of the "rise of the rest," Mr. Zakaria notes, is that it is largely a result of American ideas and actions: "For 60 years, American politicians and diplomats have traveled around the world pushing countries to open their markets, free up their politics, and embrace trade and technology. We have urged peoples in distant lands to take up the challenge of competing in the global economy, freeing up their currencies, and developing new industries. We counseled them to be unafraid of change and learn the secrets of our success. And it worked: the natives have gotten good at capitalism."

http://www.nytimes.com/2008/05/06/books/06kaku.html

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.