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\begin{slide}
{\Large\bf\sf Jessica Banks, Amanda Parkes}
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{\small Cambridge, MA USA}
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{\Large {\bf\sf Curiously Strong }{(\sf 2004)}}\vspace{0mm}\\ 
{\small Altoids boxes, solenoids, acrylic, copper}
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{\parbox{\linewidth}{\footnotesize \textit{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.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf Jo\"{e}lle Bitton, Stefan Agamanolis, Matthew Karau}
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{\small Dublin, Ireland}
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{\footnotesize {\tt http:://www.medialabeurope.org/hc/raw}}
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{\Large {\bf\sf RAW }{(\sf 2003)}}\vspace{0mm}\\ 
{\small Sound+still pictures+ISIS}
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{\parbox{\linewidth}{\footnotesize \textit{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. 
In August 2003, the tool was taken to Mali in Africa and given to 23
people who expressed themselves on their daily lives, recording sound
and taking pictures, without editorial direction. 
The installation presents their content, without alteration, and
allows the audience to immerse itself in a collection of moments of
humanity. 
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. It is also addressing the
questions of the editing process and mediation in audiovisual
narrative experience.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf Nell Breyer, jackbackrack}
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{\small Cambridge, MA USA}
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{\footnotesize {\tt http:://www.media.mit.edu/\~{}nbreyer}}
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{\Large {\bf\sf Walking Wall }{(\sf 2004)}}\vspace{0mm}\\ 
{\small Projection, live video processing with Gooze}
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{\parbox{\linewidth}{\footnotesize \textit{The Walking Wall reflects narrow impressions, views,
handmade marks and footprints of each visitor's idiosyncratic dance.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf Andrew Zoz Brooks}
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{\small Cambridge, MA USA}
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{\footnotesize {\tt http:://mit.edu/zoz/www/\\ 
http:://mit.edu/mcanulty/www/}}
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{\Large {\bf\sf Funkenschnorkel }{(\sf 2004)}}\vspace{0mm}\\ 
{\small Mixed media construction; audio output}
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{\parbox{\linewidth}{\footnotesize \textit{Funkenschnorkel (corrupted German: ``broadcasting
snorkel'') explores empowering the individual to take control of the
audio environment of medium to large scale interior and exterior
spaces, in order to manipulate the perceptions of other occupants of
the space and to explore the combination of sound and space without
prior permission.  The input combination of digital audio mass storage
and microphone with spatial effects provides the wearer with a large
repertoire and enhanced vocal capacity.  For this static installation,
activity of the Funkenschnorkel wearer is simulated using music
designed by Dan McAnulty to respond to the motions of the audience.
Dr Thomas von Wiegand and Blake Brasher contributed to the onboard and
sensor electronics respectively.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf Ben Dalton}
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{\small Cambridge, MA USA}
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{\footnotesize {\tt http:://www.media.mit.edu/\~{}bcd}}
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{\Large {\bf\sf Rabbit Field }{(\sf 2004)}}\vspace{0mm}\\ 
{\small Satin, flannel, PC fans, electronics, Java}
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{\parbox{\linewidth}{\footnotesize \textit{Electronically connected inflatable shapes. Squeeze softly
to deflate. Thanks go to Carlos A. Rocha for the development of rabbitNet.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf Jeana Frost}
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{\small Cambridge, MA USA}
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{\Large {\bf\sf Cables and Wires }{(\sf 2004)}}\vspace{0mm}\\ 
{\small Mixed method woodcuts}
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{\parbox{\linewidth}{\footnotesize \textit{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.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf jackbackrack}
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{\small Cambridge, MA USA}
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{\footnotesize {\tt http:://www.jbot.org}}
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{\Large {\bf\sf Intimacy Machine }{(\sf 2004)}}\vspace{0mm}\\ 
{\small Interactive video sculpture with one pc and two each of
computer video cameras, lcd panels, two way mirrors, and boxes.}
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{\parbox{\linewidth}{\footnotesize \textit{The intimacy machine is a computer based reciprocal
peepshow.  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.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf Brian Knep}
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{\small Boston, MA USA}
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{\footnotesize {\tt http:://www.blep.com}}
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{\Large {\bf\sf Architectural Drip }{(\sf 2004)}}\vspace{0mm}\\ 
{\small Computer, projector, camera}
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{\parbox{\linewidth}{\footnotesize \textit{An organic pattern grows and flows along one of the
gallery pillars.  The piece inhabits this structural element and
becomes a living architectural detail.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf Nick Knouf}
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{\small Cambridge, MA USA}
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{\footnotesize {\tt http:://www.zeitkunst.org}}
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{\Large {\bf\sf 44\#444 }{(\sf 2004)}}\vspace{0mm}\\ 
{\small Dumb terminals, point-of-sale receipt printer, custom software.}
\vspace{5mm} \\ 
{\parbox{\linewidth}{\footnotesize \textit{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.}}}
\end{slide}
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{\Large\bf\sf Jeff Lieberman}
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{\small Cambridge, MA USA}
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{\footnotesize {\tt http:://bea.st}}
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{\Large {\bf\sf Slink }{(\sf 2004)}}\vspace{0mm}\\ 
{\small Aluminum, Corroded Steel, Acrylic, Electronics, Custom Voice Coil with
Flexure Mounts, 1980 LEDs, Extension Spring.}
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{\parbox{\linewidth}{\footnotesize \textit{An experiment with matched mechanical, electrical, and visual
resonances, using a spring and light. \\[1mm]
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.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf Andrew Neumann}
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{\small Boston, MA USA}
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{\footnotesize {\tt http:://www.bitforms.com/artist\_neumann.html}}
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{\Large {\bf\sf Quartet }{(\sf 2003)}}\vspace{0mm}\\ 
{\small Wood, LCD screens, cameras, electronics}
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{\parbox{\linewidth}{\footnotesize \textit{}}}
\end{slide}
\begin{slide}
{\Large\bf\sf Nancy Paterson}
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{\small Toronto, Canada}
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{\footnotesize {\tt http:://www.vacuumwoman.com}}
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{\Large {\bf\sf STOCK MARKET SKIRT }{(\sf 2000)}}\vspace{0mm}\\ 
{\small Internet-Interactive}
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{\parbox{\linewidth}{\footnotesize \textit{A cyberfeminist fashion statement.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf James Patten}
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{\small Cambridge, MA USA}
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{\footnotesize {\tt http:://www.media.mit.edu/\~{}jpatten}}
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{\Large {\bf\sf Three rotations }{(\sf 2004)}}\vspace{0mm}\\ 
{\small Steel, aluminum, wood, rubber, foam, motors, electronics, computers}
\vspace{5mm} \\ 
{\parbox{\linewidth}{\footnotesize \textit{Three rotations explores three different relationships
between objects and sound. The viewer is encouraged to touch each one,
and move around them to hear the sound space created by the three
together.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf Hayes Solos Raffle, Dan Maynes-Aminzade}
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{\small Cambridge, MA USA}
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{\footnotesize {\tt {\footnotesize web.media.mit.edu/\~{}hayes/mas863/urinecontrol.html}}}
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{\Large {\bf\sf You're In Control (Urine Control) }{(\sf 2002)}}\vspace{0mm}\\ 
{\small Urinal, electronics, PIC microcontroller, PC gaming equipment running
custom video game}
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{\parbox{\linewidth}{\footnotesize \textit{Play while you pee! With You're In Control, the urinal knows your
every move. Strap on the Game Controller and have a squirt at the
flying hamsters. Hit them all for the high score. Improve your aim and
improve your game. \\ \\
Ready to ``flush'' those hamsters? See if you can ``handle'' our hidden
bonus game!}}}
\end{slide}
\begin{slide}
{\Large\bf\sf Ramesh Raskar, Amit Agrawal}
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{\small Cambridge, MA USA}
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{\footnotesize {\tt http:://raskar.com}}
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{\Large {\bf\sf Camera Non-Photo }{(\sf 2004)}}\vspace{0mm}\\ 
{\small Multi Flash Camera + Projector + PC}
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{\parbox{\linewidth}{\footnotesize \textit{Photorealism in visual arts is pass\'{e}. An artist
creates a rendering that is {\it not-a-photo}. What about a camera
that produces {\it not-a-photo}? A camera with strategically
positioned flashes cast shadows along silhouettes along different
directions in the scene. The multi-flash camera detects shadows and
ignores colors to capture the shape boundaries and depicts just the
important lines and edges, so the observer can use the perceptual cues
to fill in the rest of the image. The result is a computational camera
generating A-Ha's ``take on me'' line drawing-style animation video of
live interactions of participants.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf Dan Roe}
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{\small Cambridge, MA USA}
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{\footnotesize {\tt http:://www.danroe.net}}
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{\Large {\bf\sf Specimen }{(\sf 2004)}}\vspace{0mm}\\ 
{\small Solar engines, steel}
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{\parbox{\linewidth}{\footnotesize \textit{Specimen examines the conflict between our desire to
understand the natural world on our terms, and the natural world's
desire exist on its terms.  But specimen is nothing but steel, glass,
and a few assorted electronic components.  Ironically, it is our own
curiosity that is on display.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf Fran Trainor}
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{\small Somerville, MA USA}
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{\Large {\bf\sf Nine Cell Studies }{(\sf 2004)}}\vspace{0mm}\\ 
{\small Epson 2200 prints}
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{\parbox{\linewidth}{\footnotesize \textit{A series of small studies exploring the relationship between
cultural and biological production.}}}
\end{slide}
\begin{slide}
{\Large\bf\sf William Tremblay}
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{\small Allston, MA USA}
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{\Large {\bf\sf Bionic Log }{(\sf 2003)}}\vspace{0mm}\\ 
{\small Wood, steel, latex, electronics}
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{\parbox{\linewidth}{\footnotesize \textit{Bionic Log is a pneumatic robotic sculpture built around a
section of tree trunk. Inside the log is a bank of pneumatic valves
driven by a simple microcontroller program. These valves permit the
flow of compressed air to the actuators in the limbs of the robot,
which contract in a manner very similar to animal muscles. Although
the control mechanism is simple, the resulting motions are very
recognizable as human gestures, albeit the gestures of a confused or
wounded person. Bionic Log is an extrapolated collision of the
conflicting human imperatives of expediency and sentimentality, at
once supporting and disproving the comforting notion that technology
can solve any problem.}}}
\end{slide}
\end{document}
