ABOUT

I’m a visual artist whose work has spanned film, video, and the interactive disciplines. I began, as a kid, wandering the streets of New York, camera in hand, with an eye toward uncovering the stories that are all around us. And now, decades later, I find myself drawn to the same things. The medium changes. But the stories stay the same.

Over time my specialization moved through photography toward experimental filmmaking, with technical approaches more akin to painting or etching on film, and conceptual approaches which utilize a Cage-ian environmental minimalism. Finally, the feasibility of the Web as a venue for experimentation with direct audience interaction, and the intimacies of the tiny screen, led me closer and closer toward pursuing interactive technologies.

As of late, I find myself immersed in the digital arts, fascinated with the only recently-possible. What can the algorithms in programmatic drawing uncover about our minds? Or algorithmic music making? How is the seeming magic of physical computing, the ubiquitousness of ambient technologies, informing and changing how we think and see our role in the world? These are the questions that I'm in midst of exploring. And in the midst of building.

Throwing myself into all manner of digital art-making, I studied at New York University’s Interactive Telecommunication Program - a department to which I've returned as an adjunct professor. In my time as a student there I built: a pair of sneakers that track my whereabouts in the city and walk faster and faster as I approach home, a device which allows one to determine if his dreams are in synch with the dreams of others, and an 1860's magic lantern that checks your email for you and projects new messages across the room one letter at a time.

My final work in the program, my thesis project, Version City, marked a return to film/video work. I developed technology for a large screen interactive cinema, one in which passersby could control the narrative of the film from the keypads of their cellphones.

For the past two years I’ve been part of a creative think tank, tasked with the creation of new properties for Simon Fuller’s 19 Entertainment. The job began with what was to be a quick brainstorming around new media technologies which could be at the core of a possible new internet/television hybrid. Those few weeks became two years, as the brainstorming sessions led to fabrication on both the software and hardware sides, and an immersion in locative art-making. Two years later, we’ve launched If I Can Dream, a new property which is experimental on all fronts, and threatens to get at the heart of story-telling itself.

So, a sort of collaborative playground of ideas, in an environment rich in learning and experimentation, is what I'm after: the use of new media to work out what is in one's mind. Ideally, the technology is the means, with the artist's message the end.

ABOUT

I’m a visual artist whose work has spanned film, video, and the interactive disciplines. I began, as a kid, wandering the streets of New York, camera in hand, with an eye toward uncovering the stories that are all around us. And now, decades later, I find myself drawn to the same things. The medium changes. But the stories stay the same.

Over time my specialization moved through photography toward experimental filmmaking, with technical approaches more akin to painting or etching on film, and conceptual approaches which utilize a Cage-ian environmental minimalism. Finally, the feasibility of the Web as a venue for experimentation with direct audience interaction, and the intimacies of the tiny screen, led me closer and closer toward pursuing interactive technologies.

As of late, I find myself immersed in the digital arts, fascinated with the only recently-possible. What can the algorithms in programmatic drawing uncover about our minds? Or algorithmic music making? How is the seeming magic of physical computing, the ubiquitousness of ambient technologies, informing and changing how we think and see our role in the world? These are the questions that I'm in midst of exploring. And in the midst of building.

Throwing myself into all manner of digital art-making, I studied at New York University’s Interactive Telecommunication Program - a department to which I've returned as an adjunct professor. In my time as a student there I built: a pair of sneakers that track my whereabouts in the city and walk faster and faster as I approach home, a device which allows one to determine if his dreams are in synch with the dreams of others, and an 1860's magic lantern that checks your email for you and projects new messages across the room one letter at a time.

My final work in the program, my thesis project, Version City, marked a return to film/video work. I developed technology for a large screen interactive cinema, one in which passersby could control the narrative of the film from the keypads of their cellphones.

For the past two years I’ve been part of a creative think tank, tasked with the creation of new properties for Simon Fuller’s 19 Entertainment. The job began with what was to be a quick brainstorming around new media technologies which could be at the core of a possible new internet/television hybrid. Those few weeks became two years, as the brainstorming sessions led to fabrication on both the software and hardware sides, and an immersion in locative art-making. Two years later, we’ve launched If I Can Dream, a new property which is experimental on all fronts, and threatens to get at the heart of story-telling itself.

So, a sort of collaborative playground of ideas, in an environment rich in learning and experimentation, is what I'm after: the use of new media to work out what is in one's mind. Ideally, the technology is the means, with the artist's message the end.