Transparency Display is an interactive glass triptych that reveals and conceals portraiture in real-time using the transparency and translucency of liquid crystal pixels embedded in glass panels. The piece automatically creates low-definition portraits of the viewers, which can be seen from either side of the triptych, regardless of the lighting conditions or time of day. Through these fleeting portraits a visitor on one side can see visitors on the other side, creating an uncanny and ever changing portal between them. Inspired by Dan Graham's reflective and refractive glass pavilions, Sharon Grace's digital pictures in picture, and Kit Galloway and Sherrie Rabinowitz's "Hole in the Wall" performance, the work converts an architectural subdivision into a connective switchboard for eye contact, shadow play, and sous- and sur-veillance.
View details.

Arkansas Text Stream consists of brief texts sourced from Northwest Arkansas community members presented in a slow stream of letters that transform into phrases as the presence of people is detected. Commissioned by Crystal Bridges Museum of Art, Bentonville.
View details.

“EXCUSE YOU!” is a collaboration with poet, Leigh Kotsilidis, It is an indignant yet playful neon sign. A timely calling out. A chastisement. A snarky apology on your behalf. A potential for provocation. A chance for absolution. EXCUSE YOU! is the figurative finger pointing at all of us, saying own and apologize for your shit because it’s about fucking time!
View details.

“Botella de Castigos” is an artwork where thousands of bottles are presented spinning slowly on a display, creating a clock that counts 59 seconds per minute. The bottles come from popular and elite “brands” of water from all over the world, as well as AI generated bottles of brands that do not exist.
View details.

“Recurrent First Dream” (Primero Sueño Recurrente) is a recursive algorithmic animation made with the collected works of Mexican poet Sor Juana Inés de la Cruz. An ascending vortex of words routinely appears and scans the displays, slowly revealing the poet’s mangum opus “First Dream”, a pioneering feminist ode to knowledge and deductive reasoning, written in 1692.
View details.

“Speaking Willow” is a sound sculpture in the shape of a weeping willow tree, between 16 and 20 feet high, which adorns the entrance of the Planet Word Museum. The tree sculpture is fabricated in aluminum and is hollow, except the trunk and branches carry inside data cables that emerge from the structure and hang vertically, slowly swaying with the wind. The tree is covered by living vine, Ivy or other evergreen climbing plants that warm-up the design.
View details.

"Encode/Decode," a generative interactive typographical environment made from the critical essay of Jamaican-British cultural studies scholar Stuart Hall (1932-2014) in which he proposes an encoding/decoding model of communication.
View details.

“Recurrent Anaximander” is a generative animation running on a custom-made 400,000 pixel circular display. The piece features a solar simulation made with Reaction Diffusion, Navier Stokes, Voronoi and Perlin Noise algorithms, running on top of a Solar Dynamics Observatory (SDO) image that is updated daily by NASA.
View details.

"Border Tuner" is a large-scale, participatory art installation designed to interconnect the cities of El Paso, Texas, and Ciudad Juárez, Chihuahua. Powerful searchlights make “bridges of light” that open live sound channels for communication across the US-Mexico border. The piece creates a fluid canopy of light that can be modified by visitors to six interactive stations, three placed in El Paso and three in Juárez.
View details.

“Double” (Text Stream 4) is a generative turbulent animation of the letters AGTC, representing DNA base pairs. At a given time, the piece shows the entire genetic code of the Haemophilus Influenzae bacterium, the first organism to have its genome sequenced, in 1995, with 1.8 million base pairs. Periodically, the display switches to show the artist’s own entire genetic code, featuring 3.2 billion base pairs.
View details.

“Polar” is an artwork that converts a camera’s Cartesian grid of photo sensors (XY) into a representation in polar coordinates (r and phi). The piece has a radar-like rotation mapped to the baseline of the live camera to add an element of time, emphasized by a quiet ticking sound. Finally, the piece is constantly zooming into areas of activity detected by an optical flow algorithm.
View details.

“Recurrent Mallarmé” (Text Stream 1) is a new algorithmic text spring made with the collected works of French poet Stéphane Mallarmé.“Recurrent Mallarmé” is a new algorithmic text spring made with the collected works of French poet Stéphane Mallarmé.
View details.

The interactive installation, “Colorimètre” is a feature wall adorned with over 500 colour panels, arranged in a vertical grid orientation, showcasing a constantly-changing gamut of colours. These colour cells are activated by the colours captured by a camera in the grand hall and its surroundings.
View details.

“Friendfracker” is a service that automatically deletes a set of friends from your Facebook account. Upon authenticating your data on the website, the service deletes 1 to 10 friends at random. The project was developed with Harper Reed for Rhizome's 7 on 7 conference.
View details.

"Voz Alta" (Loud Voice)(Relational Architecture 15) is a memorial commissioned for the 40th anniversary of the student massacre in Tlatelolco. Participants who speak into a megaphone automatically control the brightness of four searchlights that relay their voice over Mexico City as quiet light flashes; tuning into 96.1FM radio allows people anywhere in the city to listen in live to what the lights are saying.
View details.

"Sitestepper" (Relational Architecture 10) is an Internet program that shows a 3D view of an apparently "neutral" living room. This space can be transformed automatically by scanning a website to extract its images, texts, colours and sounds. The system analyzes the contents of the submitted webpage and uses them to furnish and decorate the room, "branding" the space with a layer of live media. This project was commissioned for LA MOCA's digital gallery.
View details.

"1000 Platitudes" is a large-scale photographic intervention project. It is comprised of photomontages and a video with 1,000 words or expressions commonly used to promote globalized cities to potential investors, such as "open", "modern", "clean", "multicultural" and "cosmopolitan". To make these images, a powerful projector (110,000 ANSI lumens of intensity for images of up to 70 by 70 metres) was placed on a 12-ton truck with a generator, then toured across the city of Linz, Austria.
View details.

“Amodal Suspension" (Relational Architecture 8) is a large-scale interactive installation in which people send short text messages to each other using a cell phone or web browser. However, rather than being sent directly, the messages are encoded as unique sequences of flashes with twenty robotically-controlled searchlights, not unlike the patterns that make up Morse code. Messages "bounce" around from searchlight to searchlight, turning the sky into a giant switchboard.
View details.

“Two Origins” (Relational Architecture 7) is an intervention in which the emblematic Place du Capitole in Toulouse was transformed by a projection of The Book of Two Origins, a 13th-century heretical manuscript compiling the theological beliefs of the dualist cathars. Once a vibrant community in several regions of Europe, the believers in the two origins of the Universe were virtually annihilated by the brutal crusades that gave birth to the Inquisition and France's expansion. The texts are illegible since they are projected overlapping each other on the same façade from two distant projectors; only when passers-by block one text with their bodies is it possible to read the other text inside their shadow.
View details.

"Re:Positioning Fear" (Relational Architecture 3) was a large-scale installation on the Landeszeughaus military arsenal with a "teleabsence" interface of projected shadows of passers-by. Using tracking systems, the shadows were automatically focused and generated sounds. A real-time IRC discussion about the transformation of the concept of "fear" was projected inside the shadows; the chat involved 30 artists and theorists from 17 countries.
View details.

"Displaced Emperors" (Relational Architecture 2) was an interactive installation that used an "architact" —architecture meets haptics— interface to transform the facade of the Habsburg Castle in Linz, Austria. Wireless 3D sensors calculated where participants pointed to on the façade and a large animated projection of a hand was projected at that location. As people on the street "caressed" the building, they could reveal the interiors of the Habsburg residence in Mexico City, Castillo de Chapultepec.
View details.