Artist
Statement, Elliot Anderson
During the 1980's I worked
as a computer graphics engineer in the field of flight simulation.
I use my expertise as a software engineer and the concepts of interactivity
from flight simulation to create dynamic environments using computers,
video and sound. My work is an investigation of intertwining and
interaction with the computer, the construction of an environment
from computer information and an unfolding of time and through interaction
with computer algorithms. Computer technology allows me to detect
and incorporate the body's presence, movement and proximity in a
dynamic negotiation with information and processes internal to the
computer.
My work is an examination of human frailties relative to technologies,
conceptions of the self and of technology. I see this as a paradoxical
relationship. In my work I highlight the site of paradox by focusing
on disease, psychology and disorder. My work also investigates self-representation
through technological means. Currently I am exploring the idea of
infection and contamination and concepts from evolutionary genetics
as a mode of interaction with and within the computer. In work that
is interactive within the computer itself, I utilize genetic programming
to create a dialog between software to evolve a cinematic scenario
and effect. Sound and image are a result of software processes set
in place by initial conditions that are evolved throughout the course
of exhibition.
In my interactive work the viewer/participant is incorporated into
the piece as a contaminant or infectious agent that shifts the piece
in time. These shifts occur as symptoms of pathological states created
by the algorithm and digital information. Changes occur in video
and audio because of an interpretation and incorporation of these
codes by the software. Often the viewer at any given time is unaware
of the changes that he/she is creating. Only subsequent viewers
experience the shifts in sound and image instituted by the previous
participants in the work. All interactions with the work have cumulative
effect on the piece in time. These cumulative interactions shape
the piece over the time of its exhibition.
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