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\section*{Exhibits}
\subsection*{\sf Curiously Strong (2004)}
{\large\bf\sf Jessica Banks, Amanda Parkes}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt jessical@csail.mit.edu}\\ 
{\tt amanda@media.mit.edu}\\ 
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/banks-photo.jpg}
\vspace{1mm}\\
Altoids boxes, solenoids, acrylic, copper
\vspace{0mm} \\ 
approx. 1"(h) x 4" (w) x 50' (l)
\vspace{5mm} \\ 
{\small A string of actuated Altoids(TM) boxes is mechanically
controlled so that the lids open and close in sequence.  Because the
piece is long and flexible, it can be configured to take advantage of
(or interfere with) the natural organization of a room and can be
experienced by many people at the same time -  both visually and
audibly.  The  falling of the lids and clicking of the solenoids
creates a rhythmic, moving soundscape, enveloping the space like a
Sisyphean loop of dominoes. Curiously Strong is funded in part by a
Director's Grant from the Council for the Arts at MIT.  
% arts-logo.jpg goes here.}

\subsection*{\sf RAW (2003)}
{\large\bf\sf Jo\"{e}lle Bitton, Stefan Agamanolis, Matthew Karau}
\vspace{0mm}\\ 
Dublin, Ireland
\vspace{0mm}\\ 
{\tt joelle@medialabeurope.org}\\ 
{\small {\tt http:://www.medialabeurope.org/hc/raw}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/bitton-photo.jpg}
\vspace{1mm}\\
Sound+still pictures+ISIS
\vspace{0mm} \\ 
Projection-based
\vspace{5mm} \\ 
{\small {\bf (1) Overview:}
RAW is a system combining a tool and a process for capturing and
conveying audiovisual impressions of everyday life. The tool itself
incorporates a digital camera and a binaural audio recording device
that captures the minute of sound before and after a picture is
taken. The tool was used during a set of workshops in the African
country of Mali, in August 2003 by 23 participants in Bamako, Timbuktu
and S\'{e}gou. 

{\bf (2) Installation:}
The installation presents the 23 RAW records authored by these
participants.  The material gathered with the tool ``raw'' and unedited all
the way from production to archive to presentation; hence the name of
the project.

{\bf (3) Background:}
The RAW project began with the realization that, for many reasons, we
don't always have a good sense of what everyday life is like in other
places in the world, and that having this sense might be helpful in
improving understanding and relations between people in different
cultures. Records and accounts of everyday life in our pasts and
presents are often mediated by numerous third parties. We feel this
mediation degrades the full sense of awareness and appreciation we
could achieve of other peoples and places, above cultural stereotypes
and clich\'{e}s. The goal of the RAW project is to develop a new kind
of recording tool, together with a method for processing and
presenting the material captured with the tool, that enables a more
direct, minimally-mediated relationship between its user and the later
audience, possibly in a far away place or time.  

{\bf (4) The RAW System:}
RAW is a system combining a tool and a process for capturing and
conveying audiovisual impressions of everyday life. The project aims
to enable a relationship between the user of the tool and an audience
in a different place or time with an absolute minimum of editorial
mediation by a third party.  The RAW tool consists of a digital still
camera and a high quality digital stereo audio recorder that captures
the minute of sound before and after a picture is taken. The
relationship created between sound and image forms a disjoint flow and
opens a new field of audiovisual expression. These previously
uncaptured moments in time can be kept as personal artefacts (diaries,
journals), for cultural exchanges, for story-telling production or
archived for later study.  Audio is recorded binaurally using
high-quality miniature microphones that are placed in the user's ears. The
apparatus strives for the closest possible recording of what the user
of the tool is hearing while they are taking pictures. This design was
chosen in an attempt to enable the later audience to immerse
themselves ``into the shoes'' of the person who originated the content
they are experiencing, and to place greater emphasis on the subjective
point of view of this original source.  

{\bf (5) Mali:}
We chose the African country of Mali as a starting point for thinking
about the RAW project because we feel this country has a particularly
rich and diverse culture that is not well recognized or understood
within Western societies. We conducted a large scale workshop over
three weeks in August 2003 in three locations in Mali: Bamako,
Timbuktu, and S\'{e}gou; and worked with 23 people. The content
gathered by these participants is presented in the interactive
installation.}

\subsection*{\sf Walking Wall (2004)}
{\large\bf\sf Nell Breyer, jackbackrack}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt nbreyer@media.mit.edu}\\ 
{\tt jrb@csail.mit.edu}\\ 
{\small {\tt http:://www.media.mit.edu/\~{}nbreyer}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/breyer-photo.jpg}
\vspace{1mm}\\
Projection, live video processing with Gooze
\vspace{0mm} \\ 
10' x 4' on wall and 10' x 4' on floor
\vspace{5mm} \\ 
{\small A long corridor of black cloth for people to dance along,
leads up to a wall of raining feet, eyes and hands. Feet patter along
the wall through projections occurring in real and slightly delayed
time. Alongside the narrow corridor of black cloth is a white scroll
for people to draw on, leave messages and marks on.}

\subsection*{\sf Funkenschnorkel (2004)}
{\large\bf\sf Andrew Zoz Brooks}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt zoz@media.mit.edu}\\ 
{\small {\tt http:://mit.edu/zoz/www/\\ 
http:://mit.edu/mcanulty/www/}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/brooks-photo.jpg}
\vspace{1mm}\\
Mixed media construction; audio output
\vspace{0mm} \\ 
15"(w) x 18"(l) x 39"(h) [when not being worn]
\vspace{5mm} \\ 
{\small This backpack loudspeaker system, codename ``Funkenschnorkel''
(corrupted German, adapted from ``broadcasting snorkel'') is an
apparatus for exploring the process and results of empowering the
individual with control of the audio environment around them.  It was
inspired by protest demonstrations, which are in many ways paradoxical
affairs: simultaneously celebrating and undermining the value of
individual dissent; globally subversive yet often locally normative.
A person equipped with a Funkenschnorkel is able to exploit such
dichotomies using sound.

Sound is a primary way individuals make their physical presence felt,
but the audio power of a single human is ill-matched to
medium-to-large spaces or crowds.  In most cases the individual must
fall back on the group for a ``critical mass'' of people willing to
join in.  However, the feedback loop of group performance is reversed:
people are more likely to join in if the critical mass is already
present, and unlikely to add their voices if the basic groundswell is
weak and ineffective.  An individual with a mobile sound amplification
system, therefore, can exert a disproportionate effect on a group or
space.  Furthermore, such a system equipped with a wide array of audio
input files puts an interesting array of possible effects within the
reach of that individual.  Crowd noises can be fed back in unorthodox
fashions, and other audio effects used to create a virtual soundscape
that does not match the physical reality.  And of course pre-recorded
music and the wearer's voice can be used for performances that would
not otherwise be possible in a mobile, unsanctioned fashion.

The advent of portable digital audio mass storage devices and
power-efficient class D amplifiers has made this type of device
possible, and the Funkenschnorkel is an experimental realization of
this.  It is intended to be used in conjunction with an iPod for
recorded input, allowing both pre-sequenced and dynamically chosen
audio behaviour on the part of the wearer, and a microphone with
spatial effects to allow the wearer to project his or her voice, or
the voices of others.  The visual design is practical as well as
decorative - the snorkels help raise and disperse the sound out of the
clutter of other humans, and the innards on display flaunt bodyworn
electronics with pride in an age of hysteria over wearable bombs.

The Funkenschnorkel made its live protest debut at the Republican
National Convention in New York City.  Collision Six is its first
static exhibition -- here the activity of the wearer is simulated with
a musical environment that responds to the movements of the audience.
The compositional system was designed by Daniel E McAnulty and
utilizes a short-range Sharp infra-red ranging sensor array designed
by Blake Brasher.  The audio design and response mapping is meant to
demonstrate some of the possibilities of real-time adaptive music
synthesis and to serve as a tribute to Paul Lansky's 1973 FM
(frequency modulation) composition: ``mild und leise.''

Construction of the Funkenschnorkel was funded in part by a grant from
the Council for the Arts at MIT.}

\subsection*{\sf Rabbit Field (2004)}
{\large\bf\sf Ben Dalton}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt bcd@media.mit.edu}\\ 
{\small {\tt http:://www.media.mit.edu/\~{}bcd}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/dalton-photo.jpg}
\vspace{1mm}\\
Satin, flannel, PC fans, electronics, Java
\vspace{0mm} \\ 
Approx. 15 x rabbits (Approx. 25 x 35 x 45 cm). A small ad-hoc herd.
\vspace{5mm} \\ 
{\small Rabbit Field is an infestation of inflatable rabbit-like
forms, filling their display space and inviting tactile
interaction. They cover much of the floor, and any other available
surfaces, growing in number each night. Each rabbit is self inflating
using a simple computer fan, and can sense its internal pressure state
by monitoring its fan speed. If a rabbit is squeezed, and partially
deflated, the rabbits around it respond, as if out of empathy,
deflating themselves. In this way, a wave of deflation ripples out
from the squeezed centre. By connecting an entire field of forms into
a network of sensors and output media, interactions between viewer and
inflatable are further displayed and amplified as deflation data is
passed from one rabbit to the next. The organic feel of the forms and
the rhythm of their inflation and deflation in reaction to human touch
are easily anthropomorphised by the audience as simple expressions of
emotion. This initiates and encourages play and exploration. This
piece seeks to encourage and reward a 'tangible dialogue' between
viewer and inflatables, as well as hoping to establish social
connection between viewers who co-interact with the system. Rabbit
forms were chosen to engage and invite inquiry. These animals also
have strong cultural connotations of fertility and innocence, and are
prevalent images in modern eastern and western aesthetic. Use of the
unique properties of inflatable structures in architecture, art and
design has a long and creative history, flirting between chic design
and tacky novelty. 

Funded in part by a Director's Grant from the Council for the Arts at
MIT.}

\subsection*{\sf Cables and Wires (2004)}
{\large\bf\sf Jeana Frost}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt frost@media.mit.edu}\\ 
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/frost-photo.jpg}
\vspace{1mm}\\
Mixed method woodcuts
\vspace{0mm} \\ 
Three pieces each 8" x 10"
\vspace{5mm} \\ 
{\small Mixed method woodcuts. For these images, original digital
photographs are first color separated. These images are then laser cut
into wood. The woodblocks are further cut and manipulated by hand and
then printed on paper.}

\subsection*{\sf Intimacy Machine (2004)}
{\large\bf\sf jackbackrack}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt jrb@csail.mit.edu}\\ 
{\small {\tt http:://www.jbot.org}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/jackbackrack-photo.jpg}
\vspace{1mm}\\
Interactive video sculpture with one pc and two each of
computer video cameras, lcd panels, two way mirrors, and boxes.
\vspace{0mm} \\ 
36"(w) x 18"(l) x 18"(h)
\vspace{5mm} \\ 
{\small The intimacy machine is a reciprocal peepshow routed through
a computer.  It mediates intimacy allowing people to overcome their
normal social boundaries.  In particular it provides an indirect
mechanism for people standing in close proximity to each other to
stare at each other directly in the eyes, a feat that otherwise proves
tremendously difficult for humans.  Whereas telesex offers a way for
people far away to feel close, the intimacy machine makes it possible
for people that are close to feel distant.  It also offers a facility for
people to watch themselves watching.  Finally, in other moments the
machine reveals an ever changing intimate small world generated from
macro images of self. \\
\\
The artist would like to thank Dan Paluska, Mindy Zarem, Jeff Weber,
Jessica Banks, Fran Trainor, Randall Heath, and Nell Breyer for their
help in construction and otherwise.}

\subsection*{\sf Architectural Drip (2004)}
{\large\bf\sf Brian Knep}
\vspace{0mm}\\ 
Boston, MA USA
\vspace{0mm}\\ 
{\tt bkpub@blep.com}\\ 
{\small {\tt http:://www.blep.com}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/knep-photo.jpg}
\vspace{1mm}\\
Computer, projector, camera
\vspace{0mm} \\ 
8'(h) x 2'(w)
\vspace{5mm} \\ 
{\small An organic pattern grows and flows along one of the
gallery pillars.  The piece inhabits this structural element and
becomes a living architectural detail.}

\subsection*{\sf 44\#444 (2004)}
{\large\bf\sf Nick Knouf}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt nknouf@mimeme.net}\\ 
{\small {\tt http:://www.zeitkunst.org}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/knouf-photo.jpg}
\vspace{1mm}\\
Dumb terminals, point-of-sale receipt printer, custom software.
\vspace{0mm} \\ 
100cm(h) x 50cm(w) x 50cm(l)
\vspace{5mm} \\ 
{\small 44\#444 is an interactive installation that engages
participants in a re-examination of modern methods of communication,
namely cell-phone text messaging, by twisting representations into new
forms. 

Funded (in part) by a Director's Grant from the Council for the Arts
at MIT.}

\subsection*{\sf Slink (2004)}
{\large\bf\sf Jeff Lieberman}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt lieb@alum.mit.edu}\\ 
{\small {\tt http:://bea.st}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/lieberman-photo.jpg}
\vspace{1mm}\\
Aluminum, Corroded Steel, Acrylic, Electronics, Custom Voice Coil with
Flexure Mounts, 1980 LEDs, Extension Spring.
\vspace{0mm} \\ 
5' x 20" x 6"
\vspace{5mm} \\ 
{\small A voice coil vibrates linearly at roughly 50 Hz, at the
resonance frequency of the flexure mounts on which it travels. This
shakes an extension spring, tuned to match the voice coil frequency
for one of its resonant modes. 12 banks of 165 LEDs each strobe behind
the spring, through a translucent acrylic window, matching the
vibrational frequency and running at roughly 1% duty cycle, allowing
the viewer to see the spring in a suspended/frozen state. Changing the
relative phase between the 12 banks of LEDs creates a positioning
system for each segment of the spring, which allows the spring to be
broken into segments and seemingly moved independently of the physics
governing the original vibration. Various effects are explored from
this initial thought.

Many thanks to: Jack Holloway (hardware), Josh Glazer (software), Neil
Jenkins (materials), and to jackbackrack, James Bales, Zoz Brooks,
Arthur Ganson, Eric Gunther, Jessica Hinel, Dan Lovell, Kevin
McKormick, Dinsha Mistree, Cha-Ling O'Connell, Dan Paluska, Derek van
Beever, Dick Whitney, for soldering time, useful conversations, and
inspirado.}

\subsection*{\sf Quartet (2003)}
{\large\bf\sf Andrew Neumann}
\vspace{0mm}\\ 
Boston, MA USA
\vspace{0mm}\\ 
{\tt adn58@rcn.com}\\ 
{\small {\tt http:://www.bitforms.com/artist\_neumann.html}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/neumann-photo.jpg}
\vspace{1mm}\\
Wood, LCD screens, cameras, electronics
\vspace{0mm} \\ 
34" x 17" x 7"
\vspace{5mm} \\ 
{\small A self-referencing wall panel, the surveillance cameras
monitor the actions taking place within the piece, and report this
information directly to the lcd screens for viewer approval . A
completely analog production.....}

\subsection*{\sf STOCK MARKET SKIRT (2000)}
{\large\bf\sf Nancy Paterson}
\vspace{0mm}\\ 
Toronto, Canada
\vspace{0mm}\\ 
{\tt nancy.paterson@senecac.on.ca}\\ 
{\small {\tt http:://www.vacuumwoman.com}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/paterson-photo.jpg}
\vspace{1mm}\\
Internet-Interactive
\vspace{0mm} \\ 
Approx. 8' x 4'
\vspace{5mm} \\ 
{\small A blue taffeta and black velvet party dress is displayed on a
dressmaker's mannequin or 'Judy,' located next to a computer and
several monitors of varying sizes. In large type, the stock ticker
symbol and price which is being tracked, marches from right to left
across the monitor screens as the stock price is continuously updated.
Large white numbers and letters on a blue background (matching the
blue of the taffeta skirt) scroll in simulation of the pixel board
displays used to track stock values on traditional exchange room
floor.  PERL scripts (running under Linux) extract and analyze stock
prices from online stock market quote pages on the internet. These
values are sent to a program which determines whether to raise or
lower the hemline via a stepper motor and a system of cables, weights
and pulleys attached to the underside of the skirt. When the stock
price rises, the hemline is raised; when the stock price falls, the
hemline is lowered.}

\subsection*{\sf Three rotations (2004)}
{\large\bf\sf James Patten}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt jpatten@media.mit.edu}\\ 
{\small {\tt http:://www.media.mit.edu/\~{}jpatten}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/patten-photo.jpg}
\vspace{1mm}\\
Steel, aluminum, wood, rubber, foam, motors, electronics, computers
\vspace{0mm} \\ 
3 podiums each measuring about 40"(h) x 24"(w) x 24"(l)
\vspace{5mm} \\ 
{\small This piece explores three relationships between objects and
sound. Three podiums each have a slowly rotating disk, and a scanner
which looks at what is on each disk, and translates that into
sound. The podiums are placed at the vertices of a triangle on the
floor. Walking around this space, the viewer can experience the sound
mixing in different ways. The viewer is encouraged to interact with
each podium to change the sound it makes. 

The first is a surface that is normally grey, but turns black when
exposed to water. Visitors moisten a finger with a damp sponge, and
then draw on the surface, in effect drawing a melody, which repeats
several times, and then fades away. 

The second podium has a layer of slow response foam, foam that holds
its shape briefly after being squeezed. The visitor squeezes this
foam, and the shape of the foam is converted directly into sound. 

The third podium has a series of small objects, each of which creates
a different sound when it moves under the scanner. Any objects that
look different will have different sounds, and gallery visitors are
encouraged to explore this space with whatever they may have brought
to the exhibition in their pockets.}

\subsection*{\sf You're In Control (Urine Control) (2002)}
{\large\bf\sf Hayes Solos Raffle, Dan Maynes-Aminzade}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt hayes@media.mit.edu}\\ 
{\tt monzy@stanford.edu}\\ 
{\small {\tt {\footnotesize web.media.mit.edu/\~{}hayes/mas863/urinecontrol.html}}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/raffle-photo.jpg}
\vspace{1mm}\\
Urinal, electronics, PIC microcontroller, PC gaming equipment running
custom video game
\vspace{0mm} \\ 
4' x 8' x 3'
\vspace{5mm} \\ 
{\small The You're In Control system uses computation to
enhance the act of urination. Sensors in the back of a urinal detect
the position of a stream of urine, enabling people to play interactive
games on a screen mounted above the urinal.}

\subsection*{\sf Camera Non-Photo (2004)}
{\large\bf\sf Ramesh Raskar, Amit Agrawal}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt rameshraskar@yahoo.com}\\ 
{\small {\tt http:://raskar.com}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/raskar-photo.jpg}
\vspace{1mm}\\
Multi Flash Camera + Projector + PC
\vspace{0mm} \\ 
10' x 10'
\vspace{5mm} \\ 
{\small This is a multi-flash camera that can automatically generate
stylized images and videos. Strategically positioned flashes around
the camera cast shadows along silhouettes in different directions in
the scene. A video camera triggers one of the four LED flashes for
succesive frames and the moving slivers of shadows are detected using
a very simple image processing technique.

A flash to the left of a tradional camera creates an annoying sliver
of shadow to the right of each silhouette (shape discontinuity) in the
image.  We add a flash on the right, which creates a sliver of shadow
to the left of each silhouette. Then we add a flash to the top to
create a shadow below each shape boundary and a flash at the bottom to
cast shadows above each shape boundary. By simply observing the
shadows and ignoring colors in the scene, we robustly find all the
pixels corresponding to shape boundaries (depth discontinuities). This
strikingly simple method finds depth edges while ignoring any edges
due to color variation. A traditional image processing filter detects
only the color edges. But shape edges are different from color
edges. The human eye perceives geometric structure purely from the
shape edges, a technique commonly used in cartoons and line
illustrations. In the installation, without requiring 3D scanning or
per-frame photo-editing, we depict the shape edges to create different
'non-photo' styles and the participant can observe his or her own
non-photo rendering on the interactive display, a take on A-Ha's "take
on me" line drawing animation video.}

\subsection*{\sf Specimen (2004)}
{\large\bf\sf Dan Roe}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt dlroe@wjh.harvard.edu}\\ 
{\small {\tt http:://www.danroe.net}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/roe-photo.jpg}
\vspace{1mm}\\
Solar engines, steel
\vspace{0mm} \\ 
Approx. 19" x 19"
\vspace{5mm} \\ 
{\small Specimen is simple synthetic organism of the variety studied
by Valentino Braitenberg in his book 'Vehicles: experiments in
synthetic psychology.'  It is constructed of steel and a solar engine
(motors, solar panels, circuitry), and gets all its energy from the
light hanging above the display.}

\subsection*{\sf Nine Cell Studies (2004)}
{\large\bf\sf Fran Trainor}
\vspace{0mm}\\ 
Somerville, MA USA
\vspace{0mm}\\ 
{\tt frantrainor@earthlink.net}\\ 
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/trainor-photo.jpg}
\vspace{1mm}\\
Epson 2200 prints
\vspace{0mm} \\ 
Each print framed is 10" x 10", 36" x 36" sq. layout
\vspace{5mm} \\ 
{\small A series of small studies exploring the relationship between
cultural and biological production.}

\subsection*{\sf Bionic Log (2003)}
{\large\bf\sf William Tremblay}
\vspace{0mm}\\ 
Allston, MA USA
\vspace{0mm}\\ 
{\tt w.tremblay@comcast.net}\\ 
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/six/submissions/tremblay-photo.jpg}
\vspace{1mm}\\
Wood, steel, latex, electronics
\vspace{0mm} \\ 
Robot is 6'(l) x 3'(w) x 2'(h) and installation is 12'(l) x
8'(w) x 8'(h).
\vspace{5mm} \\ 
{\small This is a small-human-sized wood and steel framed pneumatic
robot of simple construction and virtually no brains. It also features
a video projection of the natural environment the tree parts were
found in. It writhes and evokes strong emotional responses from
viewers. It is current on display in the Artbots show and is complete,
tested, fixable and has not been shown in Boston except at the Allston
Open Studios last year.}

\end{document}
