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\section*{Exhibits}
\subsection*{\sf Applause (2005)}
{\large\bf\sf Jeff Lieberman, Josh Lifton, David Merrill, Hayes Raffle}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt foofie@mit.edu}\\ 
{\tt junkmail@media.mit.edu}\\ 
{\tt dmerrill@media.mit.edu}\\ 
{\tt hayes@media.mit.edu}\\ 
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/seven/submissions/lieberman-photo.jpg}
\vspace{1mm}\\
Mini movie theater, archival film footage, electronics
\vspace{0mm} \\ 
approximately 8'x12' enclosure
\vspace{5mm} \\ 
{\small An interactive video installation draws on classic film
archives to explore contemporary issues surrounding images,
advertising, and group participation.}

\subsection*{\sf Bodies of Light (2005)}
{\large\bf\sf Elisabeth Sylvan}
\vspace{0mm}\\ 
Somerville, MA USA
\vspace{0mm}\\ 
{\tt sylvan@media.mit.edu}\\ 
{\small {\tt http:://www.media.mit.edu/\~{}sylvan}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/seven/submissions/sylvan-photo.jpg}
\vspace{1mm}\\
Light and motors
\vspace{0mm} \\ 
59"w x 63"h
\vspace{5mm} \\ 
{\small How can life be drawn from a machine? In ``Bodies of Light''
servo-controlled white lights push against white fabric. They writhe
and contort, creating kaleidoscopic patterns.}

\subsection*{\sf House of Style (2004)}
{\large\bf\sf Steve Hollinger}
\vspace{0mm}\\ 
Boston, MA USA
\vspace{0mm}\\ 
{\tt mail@sjh.com}\\ 
{\small {\tt www.sjh.com}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/seven/submissions/hollinger-photo.jpg}
\vspace{1mm}\\
mixed media sculpture
\vspace{0mm} \\ 
13.5 x 7 x 4.5"
\vspace{5mm} \\ 
{\small House of Style randomly selects and presents fashion
suggestions from an array of styles. In its normal environment, House
of Style is placed in a window and operates during the day, drawing
energy from sunlight. Courtesy of Chase Gallery, Boston.}

\subsection*{\sf Influence (2005)}
{\large\bf\sf Orit Zuckerman, Sajid Sadi}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt orit@media.mit.edu}\\ 
{\tt sajid@media.mit.edu}\\ 
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/seven/submissions/zuckerman-photo.jpg}
\vspace{1mm}\\
Digital portraits, projection, glass
\vspace{0mm} \\ 
50x50"
\vspace{5mm} \\ 
{\small We are all individuals that are unique and different from each other. There are no two people alike. Nevertheless, other people around us affect our behavior, thoughts and emotions in the most simple and unconscious way. This work shows 16 portraits of 16 individuals. From time to time, one of the individuals is yawning, smiling or coughing. Other individuals in the portrait will be affected by that behavior in different ways according to their own personality, resulting in different social behavior patterns and different spreading rates.}

\subsection*{\sf Janken (2005)}
{\large\bf\sf William Tremblay, Rob Gonsalves}
\vspace{0mm}\\ 
Allston, MA USA
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{\tt w.tremblay@comcast.net}\\ 
{\tt deep\_devices@compuserve.com}\\ 
{\small {\tt http://www.williamtremblay.com/art/janken/}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/seven/submissions/tremblay-photo.jpg}
\vspace{1mm}\\
Interactive computer graphics, projection, video camera,
plexiglas, sensors, rock, paper and scissors
\vspace{0mm} \\ 
8' (tall) * 8' (wide) * 10' (deep)
\vspace{5mm} \\ 
{\small Janken is the Japanese word for the common game known in the
US as ``Rock-Paper-Scissors''. Roughly translated, it means ``hand game''
but also implies fist, strike and gambling. Janken presents two
aspects: when interacted with, it engages the viewer with a very
familiar hand gesture game. Without human interaction, it reverts to
the performance of a random and unfamiliar sign language.}

\subsection*{\sf Performance 0405 (2005)}
{\large\bf\sf Michael Mittelman}
\vspace{0mm}\\ 
Boston, MA USA
\vspace{0mm}\\ 
{\tt mmittelman@expandedfield.com}\\ 
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/seven/submissions/mittelman-photo.jpg}
\vspace{1mm}\\
Sound
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Variable
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{\small A mixture of live, delayed, and pre-recorded sound creates a quadraphonic soundscape that is individual to each listener and each moment.}

\subsection*{\sf Protochoice (2005)}
{\large\bf\sf jackbackrack}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt jrb@pobox.org}\\ 
{\small {\tt www.jbot.org}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/seven/submissions/jackbackrack-photo.jpg}
\vspace{1mm}\\
Modular light: 1x16" PCBs, microcontrollers, LEDs,
and USB cables and connectors.
\vspace{0mm} \\ 
6'x6'x6'
\vspace{5mm} \\ 
{\small Protochoice is a modular lighting prototype which computes a
lifetime of chance decisions.  It is comprised of 26 1x16" printed
circuit boards with two USB connections on each end providing both
structural and electical glue.  A collection of protochoice boards
permit the construction of a wide range of wireframe sculptures.
Boards can be reconfigured while running.  Protochoice is the first in
a series of modular electronic sculptures by the artist.

In Protochoice, sparks travel along the sculpture making chance left
or right decisions at each juncture.  Boards communicate with their
neighbors passing along each spark.  Sparks have limited lifespans and
are spontaneously regenerated after a period of inactivity.  Finally,
sparks can also be introduced using a board mounted button.

Protochoice was inspired both by Eric Saund's Markov cube (which was
built at MIT a dozen years ago and mesmerized folks until the sad day
when it was stolen) and by XTC's ``Complicated Game'' song asking the
profound question of whether I should part my hair on the left or
right, which eventually forced me to decide to not part my hair at
all.  Collisional art is greatly dependent upon techknowledgeable
friends and I humbly thank Mark Tobenkin, Jeff Lieberman, Kevin
McCormick, James Patten, and Hayes Raffle for the many hours of
teaching me to fish.  Making any art is inspired and nutured by a
community of artists and believers and for them I am truly indebted; I
want to thank Brian Knep, Fran Trainor, Dan Paluska, and Mindy Zarem
specifically and Collision Collective more generally.  Finally,
Protochoice was partially funded by the MIT Council for the Arts.}

\subsection*{\sf PS (2005)}
{\large\bf\sf Gretchen Skogerson, Garth Zeglin}
\vspace{0mm}\\ 
Somerville, MA USA and Pittsburgh, PA USA
\vspace{0mm}\\ 
{\tt skogerson@gmail.com}\\ 
{\small {\tt www.publicsecrets.net}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/seven/submissions/skogerson-photo.jpg}
\vspace{1mm}\\
mixed media  (mirror, electronics)
\vspace{0mm} \\ 
14 1/2" x 22 1/2" x  2"
\vspace{5mm} \\ 
{\small PS is a talking mirror installation. The mirror engages potential participants by calling out, ``Psst.'' Upon leaning in close, the mirror whispers a secret. The mirror only reveals a single secret at a time. Once the participant walks away, the mirror returns to soliciting. 

Why secrets? Secrets are an established mode of communication. They simultaneously provide a release for the author while acting as an offering of sorts to the receiver. 

A mirror is a codified way of seeing the self which is not the self
but the other. A secret is a way of recognizing part of the self at a
distance. PS' use of a mirror invites the receiver to consider the
part of them tied to the secret.

Call 212-696-6638 to add your secret.}

\subsection*{\sf The Vibravibe VL-12 (2005)}
{\large\bf\sf Eric Gunther}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt eric@davidsmall.com}\\ 
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/seven/submissions/gunther-photo.jpg}
\vspace{1mm}\\
Vibrotactile lounge chair:
plywood, canvas, lycra velvet, low-frequency vibrotactile
transducers. Composition: music and vibrotactile compositions, control software.
\vspace{0mm} \\ 
8' x 6' x 4' (approximately)
\vspace{5mm} \\ 
{\small Vibrotactile stimulation is often pigeonholed into the realms
of pleasure and relaxation. In fact, the ability of our sense of touch
to understand complex patterns - even language - has been illuminated
by several decades of haptic research.

Looking at vibration as a compositional medium - with the vibrations
themselves as aesthetic artifacts - we begin to see how many of the
dynamic, rhythmic, and harmonic structures of sonic vibrations in
music can be naturally extended to palpable vibrations. Space and
motion on the vast surface of the skin are essential parameters for
vibrotactile composition. The body becomes the stage for a dance that
is felt rather than seen.

Given their inherent similarities, vibrotactile stimulation and music
are natural partners for multimodal composition. This piece is an
extension of the Cutaneous Grooves Project in which Eric explored
multimodal composition between the auditory and haptic senses with a
vibrotactile body suit. The nascent state of vibrotactile stimulation
technology conjures images of the golden era of hi-fi audio. It is in
this spirit that the Vibravibe VL-12 is unveiled. It is truly the
cutting edge in hi-fidelity vibrotactilix.

Thanks to Jeff Lieberman, Justin Manor, Chris Parlato, John
Rothenberg, and Small Design Firm for their help with this project.}

\subsection*{\sf 1-Bit Love (2005)}
{\large\bf\sf Noah Vawter}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt shifty@media.mit.edu}\\ 
{\small {\tt web.media.mit.edu/\~{}nvawter}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/seven/submissions/vawter-photo.jpg}
\vspace{1mm}\\
Musical altar with big, comfy knobs
\vspace{0mm} \\ 
1.5m x 1m foot print.  2.5m high
\vspace{5mm} \\ 
{\small I would like to spread the love of 1-bit musical waveforms.  They
were first introduced to us in the late 1970's inside the Atari 2600,
but our initial ambassadors could only produce 8 distinct ones with
poor pitch control.  Now, with this research, we can adore their
stunning variety, in good-sounding musical scales.}

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