Computer World
Digital illustration 1998
Azoth
Digital illustration 2000
Master of the Salt, so possessed by murderous hate put forth thy green figs and thy acid vine! For, lo at the pure ides of the day no one marches in darkness. Let me see thy countenance. Mine is the Book of the Dead and my strength among you: Take the idea pure as salt, hold its assizes in the daylight. For shame! Art so improvident? Then come away? Rendered in blue pigment like an articulate painting. The nick of love! Deny that thou barest love to any woman like a good smelling living among you. Why hearest thou music sadly? And behind us the great ones of the earth under my hand and his right hand doth embrace me. In delight of salt the mind shakes its tumult of spears under this incorruptible sky. ~In Lieu of: The Poem of Poems
+one
Digital illustration 2000
What is the imagination? (and) Why is it imaginable? What thing separates the You from I in permissible space? Where is the real exchange in context of language? As concept or reality? (wherein nothing that happens happens without reason of our own making ~ doing). Is energy a concept or a reality? Who will win in the live long battle between opposites: Maya the great illusion or Brahman the great destroyer? Or is there a serendipitous chance that either even exist?
Parallelism: two (or more) forces, entities, realities, etc. never ever ever meet because the law of the universe say a paradox cannot begin or end at the same point or else! What exactly exists beyond the soup pot lid of our play on one existence?
Information Decay
Screenshot of a defragmented harddrive 1999
The theory that Progress is a stepping stone toward some elevated plane of existence is not necessarily a time based, linear notion. The chaos theory proves (to the extent that it was derived) a multifaceted array of the “seemingly” random order of time. The generation of a fractal is one way to describe this theory. Things change yet nothing changes — simultaneously.
Kenneth Knowlton, pioneer of binary art and theory, examined the nature of progress through interactivity. “The computer does not make it possible to define or execute complex processes—this possibility exists independently—but the computer does make execution fast enough to be done interactively with further human decisions, accurate enough to avoid mistakes, and cheap enough to afford a great deal of experimentation. Whether the computer is defining a new branch of art is an open and difficult question, particularly in the area of works defined entirely by logic.”
Parzufim
Digital illustration 2000
Parzufim portrays the anatomy of space intertwining through the vessel of time like a two headed snake devouring itself. Parzufim or face represents the ontological, generative cycle of man from the budding seed of life to the birth of the perfected universe. Parzufim was included in the exhibition Digitalis 2: The Spiritual In Digital Art at the Evergreen Cultural Centre, British Columbia in 2003.
TetraMorph™
Renderings for Interactive Simulator 2000
TM™ is an Interactive Simulator modeled after the physical blueprint of the Kabbalistic Tree of Life. The shape is likened to a 3D Merkabah (diamond–like structure) encased in black, reflective Formica. The mechanics behind the TM include a programmable OS that connects, via telephone cords, the following: a user control panel, massage–stimulated upholstered seat, sub woofer, hydraulic door, and LCD monitor. All encased circuits plug directly into a three prong outlet located in the rear of the machine. The (sub)objective of the simulator is to activate, through synchronized light, sound, and vibratory stimuli, a transcendent user experience. The metaphysical shape acts as a conduit.
Cromagnonmus
Video still 1999
“Karen Kuslansky presents/displays an abstract work, Cromagnonmus, in which during two minutes and six seconds it plays with the composition and decomposition, linking and rotation of a series of images altered with an underlying connection that, to that this writes, escape to him and for whose compression the author does not offer instructions nor commentaries.” –Bus@cine