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\section*{Exhibits}
\subsection*{\sf Homespun (2005)}
{\large\bf\sf Simon Greenwold}
\vspace{0mm}\\ 
Newton, MA USA
\vspace{0mm}\\ 
{\tt simon.greenwold@gmail.com}\\ 
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/bawp/one/submissions/greenwold-photo.jpg}
\vspace{1mm}\\
Dollhouse, electric motor, camera, computer, monitors
\vspace{0mm} \\ 
6' X 6' X 6'
\vspace{5mm} \\ 
{\small Homespun is dedicated to anyone who has ever felt turned upside down
by forces beyond their control. It is a dollhouse rotating slowly
end-over-end on an axle and a video feed of the inside of the house.
(In the video, the rotation is removed, so the furniture prowls
slowly around the room from floor to wall to ceiling.) It is about the
heaviness and danger of the objects with which we surround ourselves
and the fragility of the shells we live in.}

\subsection*{\sf Algorithmic Materialization Study \#0 (2005)}
{\large\bf\sf sosolimited}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt info@sosolimited.com}\\ 
{\small {\tt www.sosolimited.com}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/bawp/one/submissions/gunther-photo.jpg}
\vspace{1mm}\\
televisions, software, sound
\vspace{0mm} \\ 
3x4x8'
\vspace{5mm} \\ 
{\small After establishing a set of algorithmic and architectural
rules, each member of sosolimited was given a graphical primitive -
points, lines, or planes - with which to compose in graphical and
sonic space. The sounds drive the motion graphics and the graphics
modulate the sounds.}

\subsection*{\sf Downtown (2005)}
{\large\bf\sf Steve Hollinger}
\vspace{0mm}\\ 
Boston, MA USA
\vspace{0mm}\\ 
{\tt mail@sjh.com}\\ 
{\small {\tt www.stevehollinger.com}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/bawp/one/submissions/hollinger-photo.jpg}
\vspace{1mm}\\
Mixed media
\vspace{0mm} \\ 
8' x 8' x 8'
\vspace{5mm} \\ 
{\small ``Downtown'' is one in a series of Steve Hollinger's
sculptures that use strands of thread to examine the most delicate of
forms, structures and connections.}

\subsection*{\sf Full Backup (2004)}
{\large\bf\sf jackbackrack}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt jrb@csail.mit.edu}\\ 
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/bawp/one/submissions/jackbackrack-photo.jpg}
\vspace{1mm}\\
Video Camera, Computer, Projector, Gooze Video processing
\vspace{0mm} \\ 
5'x5'x5'
\vspace{5mm} \\ 
{\small fullbackUP is an interactive video installation that
responds to people's movements by amplifying and replicating them.ﾊ
Internal video feedback loops generate direct and indirect patterns,
introduce delays and effects to produces a visual landscape that is
revealing and constantly changing.  It is written in his  stream processing 
language, called Gooze, allowing the creation and scripting of fx  modules 
combining wide ranging techniques such as 3d, vector and image based 
graphics.  Thanks to Nell Breyer and Geo Homsy for their inspiration.}

\subsection*{\sf Big Smile (2003)}
{\large\bf\sf Brian Knep}
\vspace{0mm}\\ 
Boston, MA USA
\vspace{0mm}\\ 
{\tt info@blep.com}\\ 
{\small {\tt www.blep.com}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/bawp/one/submissions/knep-photo.jpg}
\vspace{1mm}\\
Computer, Video Projector, Video Camera, Custom Software
\vspace{0mm} \\ 
4x4x4feet
\vspace{5mm} \\ 
{\small Big Smile is a large, archetypal smiley face. It blinks,
looks around at viewers, and smiles only when no one is looking
directly at it. Viewers get a glimpse of the smile as they look away,
but when they look back the face no longer smiles. The piece is
mounted on a window and interacts only with visitors directly in front
of it.

The piece is large (about four feet in diameter) and placed high on a window
so as to be somewhat imposing. Like a scary clown, Big Smile can be both
comforting and disturbing. The image is immediately recognizable and evokes
happy memories, yet its size and position in the window are out of
proportion--it's too big and too high--and its behavior is certainly
unfriendly. As much as viewers are looking at the piece, the piece is
looking at them, and by smiling only when no one is looking, the piece seems
disdainful of the viewers' participation. It asks, "Why are you looking at
me," when of course without viewers the piece wouldn't exist.

Big Smile is an exploration of interactive art--art that changes in response
to visitors and that often doesn't exist without viewer participation. The
piece reverses the common sense of "viewers" looking at works in a gallery,
and brings up issues of gaze and active participation. There are two ways to
view this piece. In front of the piece, viewers interact directly with the
smiley face. Off to the side, viewers watch this dance between the computer
and the person or people directly in front.}

\subsection*{\sf Slink (2004)}
{\large\bf\sf Jeff Lieberman}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt jeff@bea.st}\\ 
{\small {\tt http://bea.st}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/bawp/one/submissions/lieberman-photo.jpg}
\vspace{1mm}\\
Aluminum, Corroded Steel, Acrylic, Electronics, Custom Voice Coil with
Flexure Mounts, 1980 LEDs, Extension Spring
\vspace{0mm} \\ 
4'x4'x1'
\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 Corona (2003)}
{\large\bf\sf Kevin McCormick}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt rhombus@piperazine.net}\\ 
{\small {\tt www.hydrochloride.net/rhombus/}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/bawp/one/submissions/mccormick-photo.jpg}
\vspace{1mm}\\
naked electronics, LEDs
\vspace{0mm} \\ 
1 foot sphere, hung from a 3/8" cable.  Approximately 2 pounds.
\vspace{5mm} \\ 
{\small Corona began as an engineering experiment, to explore the
potential of a new microchip developed by Color Kinetics Inc. of
Boston, for whom I work.  The tiny chip, coupled with one or more
equally tiny red-green-blue colored LEDs (Light Emitting Diodes),
permits the synthesis and variation of over 64 billion colors of light
under the control of a computer, in a space the size of a pencil
eraser.  Armed with this technology, I set out to create a device that
simultaneously proved the performance of the chip, that was
aesthetically interesting, and that up until this point was
technically very difficult to build. The result was Corona.

Corona is constructed entirely of the materials of modern
electronics. 180 triangular circuit boards interlock, edge to edge, to
form a geodesic sphere.  Under computer control, directional red,
green and blue LEDs on each board project 180 spots of saturated color
onto walls, ceiling and floor, undulating, sweeping and fading.  The
sphere itself is brilliantly bright, but appears to be an
ultra-minimal video display; viewing pixels on a sphere is a bit like
viewing a globe in oneﾕs hands rather than a paper map of Earth.  It
could serve as a ``lamp'' in the sense of something that provides
illumination, but no chandelier or stage luminaire can compare.

To the engineer, Corona is an ingenious device, carefully crafted.  To
the artist, it is a pleasing form built in the medium of naked
technology.  To the pragmatist, it is a new kind of light, one more
nail in the coffin of Edisonﾕs incandescent bulb.}

\subsection*{\sf ``Industrial Tree'' (2005)}
{\large\bf\sf Andrew Neumann}
\vspace{0mm}\\ 
Boston, MA USA
\vspace{0mm}\\ 
{\tt adn58@rcn.com}\\ 
{\small {\tt www.bitforms.com/artist\_neumann.html}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/bawp/one/submissions/neumann-photo.jpg}
\vspace{1mm}\\
Plywood, fans, analog switch, wire, power supply
\vspace{0mm} \\ 
4x5'
\vspace{5mm} \\ 
{\small }

\subsection*{\sf Captivity: Specimens one and two (2004)}
{\large\bf\sf Dan Roe}
\vspace{0mm}\\ 
Cambridge, MA USA
\vspace{0mm}\\ 
{\tt dlroe@wjh.harvard.edu}\\ 
{\small {\tt www.danroe.net}}
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/bawp/one/submissions/roe-photo.jpg}
\vspace{1mm}\\
Steel, solar engine (motors, glass solar panels, circuitry)
\vspace{0mm} \\ 
14"x24" and 19"x19"
\vspace{5mm} \\ 
{\small Dan Roe finds the conceptual interplay between technology,
science, and art to be fascinating.  In his art, technology and
science sometimes inform the construction of a sculpture, while the
sculpture in turn illustrates an abstract concept.  At other times his
sculptures are studies of natural and theoretical anatomies that seek
to imitate nature.  They are in this sense ��artificial life forms.

The specimens in the current exhibition are artificial life forms
created from wire and circuitry.  Consider either one, and let us
wonder at the most life-like aspect of this specimen.  Is it some
physical characteristic, the shape of the wings, the tail, the
placement of motors roughly where feet should be, or perhaps the
infrared photosensors in the place of eyes with brain-like control
circuitry behind?  Or is the most life-like characteristic behavioral,
and to be observed in the way the body moves and flexes against its
chains, while simultaneously seeking a light source to power its
movement?  Neither proposition addresses the situation in which this
sculpture finds itself.  This artificial life form is in a fruitless
struggle against bonds it can not hope to break, and it is destined to
struggle against these bonds so long as it moves.  The creature is
captive to a moment in time from which it will never free itself, and
this unending struggle is its most life-like aspect.}

\subsection*{\sf Wave Puppet (2005)}
{\large\bf\sf William Tremblay, Rob Gonsalves}
\vspace{0mm}\\ 
Allston, MA USA
\vspace{0mm}\\ 
{\tt w.tremblay@comcast.net \\
deep\_devices@compuserve.com}\\ 
\vspace{1mm}\\
\includegraphics[width=3.15in]{/afs/csail/u/j/jrb/collision/bawp/one/submissions/tremblay-photo.jpg}
\vspace{1mm}\\
Acrylic, aluminum, steel, EPDM rubber, servo motors,
computer, custom software
\vspace{0mm} \\ 
3*3*3 feet
\vspace{5mm} \\ 
{\small Translating powerful physical forces to an
anthropomorphically comprehensible and safely inanimate form, Wave
Puppet is a marionette of the ocean's surface directed by the math
that underlies all waves.  Wave Puppet is an open-framed cube
containing a flexible sheet suspended horizontally. The sheet hangs
from 36 vertical steel rods, evenly spaced in a grid pattern. Each rod
is attached to a computer-controlled servo motor through a mechanical
linkage. When a motor actuates, the point on the surface of the sheet
connected to the rod rises or falls, deforming the sheet. When this
motion is coordinated by computer, complex wave patterns are
generated, capturing the dynamics of liquid in a purely mechanical
form. Additional complexity arises from the inherent imprecision of
the motors, at once enhancing the puppet's similarity to water and
calling attention to its simulated nature.  A motion detector signals
the approach of a viewer, beginning the puppet show.}

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