After reading chapter two of Manovich’s Software Takes Command, the difference between multimedia and hybrid media revealed various facets within themselves that I never even knew existed. It struck interest in many ways, but one most of all which was the further study into Joachim Sauter’s Invisible Shape of Things Past. Honestly, at first it […]
Part photography, part performance art filtered through an algorithmic structure, Nathaniel Stern's Compressionism uses a document scanner as the tool of choice, which takes on the dual roles of paintbrush and camera: as the scanner bulb moves along its path, the artist follows his own path hovering over various objects and textures. Sometimes linearly, sometimes erratically, he moves according to his own performative instincts. With this kinetic approach, Stern bridges a certain gap between his body and the end result.
Coincidence Engine One: Universal People’s Republic Time