Artist Statement
This work uses interactive spaces to explore our obsessions with microscopic species killers.
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Fiddle with the intersections between ficto-biography, found text and obscure science. Packaged in the dust bowl landscapes of the Oklahoma panhandle.
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The Paranoid Poetry Generator was a net.art piece which collected people's paranoid episodes and generated haiku-like poems from them.
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Passage Sets is a generative visual poem. It includes an interactive poem generator. The users of the system can position themselves in front of the screen and select words and/or phrases from four lists that become visual as they enter into differing proximities in relation to the screens. Moving forward and/or backward, then stopping in the center of the field, enables the participants to make selections from specific lists authored by Seaman. These words then flow across the screen and become part of an ever-changing line of text at the bottom of the screen.
Source of Artist Statement]]> Excerpt from IAMAS, the Institute of Advance Media Arts and Science]]> Artist Statement
The installation has a large cylindrical projection screen with a round motorised platform in its centre, a computer and three video projectors that project onto a 120-degree portion of the screen. Continuous rotation of this viewing window around the screen reveals the full 360-degree computer-generated scene. While the work is controlled and generally viewed from within the circumference of the screen, the projected image can also be seen on its outside surface. The user interface in this work is a modified video camera. By rotating this camera and using its zoom and play buttons, the viewer controls his forward, backward and rotational movements through the virtual scene as well as the rotation of the platform and of the projected image around the circular screen.
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In this installation a rotating platform allows the viewer to interactively rotate a projected image within a large circular projection screen and explore a three dimensional virtual environment constituted by an emblematic constellation of panoramic locations and cinematic events. The work presents a virtual landscape containing eleven cylinders that show particular sites in the Ruhr area. The viewer can navigate this 3D space and enter these panoramic cylinders, inside each of which a surrounding cinematic sequence fills the projection screen and presents a 360 degree pre-recorded situation and acted event[...]A microphone on top of this interface camera picks up any sound that the viewer makes, and this causes the release of continuously moving three dimensional words and sentences within the projected scene.
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Combines mysticism science with math poetics caressed into game interface. A modified card game cycles randomly through 52 options.
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Exploring depth, plays with texts inside texts inside texts. Artwork arrived after watching loose poem pages blow from my car.
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Simple interacter, forces the reader/user to play. More abstract painting than strict poem, but glorious fun all the same.
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Allegiance between common objects and overblown titles, brand names. Toothbrushes and carpet beg us to find joy in our status as dry and flooring shined buyers.
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Points of View was a 'theatre of signs' with both stage and protagonists being provided by a three-dimensional computer graphics simulation that was video projected onto a large screen in front of a seated audience...The representation of the actors on the stage was derived from the ancient Egyptian alphabet - each figure was a hieroglyphic character. This constellation of signs was used to articulate a world model with an underlying set of physical and conceptual relationships. Sixteen sound tracks - mostly spoken texts - were interactively linked to the image via the same joystick that controlled the visual movements.
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Points of View II - Babel addressed issues relating to the Falklands War. It implemented functional and iconographic structures that were similar to Points of View I. Egyptian hieroglyphs were used to articulate both a visual and psychological architecture - a hierarchical edifice that set out to identify the essential pathology of power and its inevitable predisposition to oppression and warfare.
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The World Machine originates in Ludea. Its function is to transmutate the city streets to provide a suitable habitat for Ludean lifeforms. At its core are seven tags that appear in scenes that are at once familiar and alien simultaneously read by humans and machines augmenting and mutating urban space.
Description from Vimeo]]> Artist Statement
Postcard from Tunis is not an objective documentary (if such a thing actually exists). Instead, it's a playful, artistic exploration of writing: its histories, its inscriptions, its relationships with pictures and its relevance to the human-computer interface. This is set in a very personal, audiovisual portrait of Tunis, the capital of Tunisia. This is a city and culture that I love, and the home of my former family-in-law. I programmed the unique interface so that it echoes an actual visit, where you can't help learning a few Tunisian words and with time, maybe starting to read written Arabic. Although it was designed for adults, children have shown a strong affinity with the CD-ROM and the interface is bilingual in English and French.
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What exactly IS writing? Is picture writing something that is half way between pictures and writing? And is it a useful concept for thinking about new media writing and interfaces? One approach to these questions is provided by Integrationism, a radical new theory of language and communication which Roy Harris has applied to a groundbreaking analysis of writing. In this view, writing is teased apart from speech (transcription of speech is just one of writing's possible uses) and re-aligned with spatial configurations in general. 'Picture writing' then becomes a meaningless and rather ethnocentric term because the boundary between writing and pictures is shown to be fluid, rather than fixed. These are quite difficult ideas to grasp in a world where written words are so important.
In Postcards from Writing, a kind of intellectual road movie, I artistically express my own encounter with them and explore their implications for new media writing and interfaces. My work offers users an interactive experience, rather than simply an illustrated lecture, because user interaction creates dynamic and multidimensional signs that illuminate the ideas I'm trying to express.
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Recombination, hand correction and the layering of meaning are built into his exploration of design and poetry.
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ProseThetic Memories is a collaborative, fictocritical and cross-genre text which combines prose, poetry, cultural theory and philosophy. It challenges traditional ideas about memory as a process of storage and subsequent retrieval. Instead memory is seen as a dynamic process, in which the present constantly transforms our impression of the past and vice versa. In this way the very division of time into discrete past and present components is called into question. Important to the genesis of the piece was Freud's notion of Nachtraglichkeit, "afterwardsness", the idea that what is continually rewrites what has been. The concept of prosthesis is also central to the piece because collaboration is itself a prosthetic process, involving the adoption of others' memories and preoccupations, and because memory is always collective as well as individual.
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Attempting to write two different letters by pulling and releasing strings attached to each of the four limbs.
Source of Artist Statement]]> Excerpt from the Art Gallery of New South Wales' website]]> Gillian Fuller]]>