CollisionCollective presents
COLLISION twelve: mini
MIT STATA CENTER BALCONY, 3rd floor
32 Vassar St., Cambridge, MA
Reception Friday, Nov. 30 from 6‐9pm
Nov. 30‐Dec. 16, weekdays 9am‐5pm, weekends 12‐6pm
Works by
Joseph Farbrook Christine Moran
Rob Gonsalves Roy Pardi
Eric Gunther Hayes Raffle
Seth Hunter Roberto Aimi
Sajid Sadi David Merrill
jackbackrack Mark Stock
Simon Kim Orkan Telhan
Adam Kumpf William Tremblay
Funded (in part) by a Director's Grant from the Council for the Arts at MIT.
1
CollisionCollective work can be f
e members' w found
uction
Introdu from
m the basements of MIT to o exhibitions,
eries and mus
galle ghout the wor
seums throug rld.
e and Art Inte
The Collision Collective eractive
present CCOLLISION12:m mini, an expeerimental
exploratio Collision
on of art and technology. C
Twelve, thhe twelfth event in the
hibits
Exh
series, showcases art from
Collision s m artists from
MIT and b beyond who u use new technologies in e Voice in
The (2007)
My Head (
their workk. COLLISION12:mini speci ifically deals Joseph Farbrook
ook@wpi.edu
farbro
with work ks produced o ale.
on a small sca
Collective
About CollisionC e
The CollisionCollective e (aka CC) was s founded in
2002 as an offshoot of f the MIT stud dent art
group, ATTat (Arts and T Technology at tech),
whose charter was to h host events showcasing
art incorp
porating techn nology.
Formed b by artists and technologists s, the
Collective is pr
CollisionC remised on th he
sometime es abrupt inte ersection betw ween art and
technolog gy. Its practitioners are dra awn to this
Commputer, screenn, and matte
synthesis as the epicen nter of forward‐looking
16 x 20 x 4"
cultural addaptation. Co ollisionCollecttive was
The Voice in my HHead is a poet ion
tic investigati
formed to o address several vital needs: the
into the internal m
monologue th hat occurs aftter
promotion of artists, th he creation oof events and
an emotional crissis. There is a tendency to
venues foor exhibition, and fostering g the
arguue with oneseelf, re‐explain events, playiing
exchange of ideas, techniques, and enthusiasm
out aalternate scenarios. This fl mage
lashing text‐im
and for mmaking art. CC brings togeth her people of f
appeears to the eyye as a jumblee, but the minnd
nd disciplines
all ages an ve format,
s in a collectiv
natuurally arranges and pattern ns the words until
creating aa supportive c community.
a voice emerges a as if from an internal
Collective produces experim
CollisionC mental
mon nologue. The mmind makes u use of memory
shows, caalled COLLISIO ONs, engaging g viewers
afterr‐image to form meaning, similar to how
with interractive and roobotic art, inv viting them to o
meaning is forme ed from a jum mbled recollec ction
explore laaser‐lighted sp paces, shake their heads
of ev pools of thoug
vents. Whirlp ghts spin in a loop
at LED scu en and dance to live
ulptures, liste
a time before eventually le
for a etting go and
electronicc music and generally have e a good time e
mov ving on.
— while b being introduced to the fut ture of art.
more information
For m n, see:
CC memb bers meet sem mi‐monthly in n gatherings, //farbrook.net/v
http:/ voice
dubbed C CollisionCollus sions, where a a varying
local and visit
roster of l cientists and
ting artists, sc
engineers s share their wwork and tech hniques.
2
2007)
O.f.f.i.c.e A.n.t.s (2 ell in my la
It fe
ap (2007)
salves
Rob Gons Eric Gunther
es@gmail.com
robgonsalve her.eric@gmail.c
gunth com
Videeo, vibration, c custom lap‐based display
2 x 11 x 6'
ll in my lap is a visual tactile play on the
It fel e
conn notations of t ap is an intimate
the lap. The la
place e of warmth a a place where
and retreat, a e
good d things fall and problems are dumped. . The
piece e expresses the sensations s of surprise,
cont trol and respo onsibility—an nd lack thereoof—
through a series o of varied mat terials droppe ed
into the lap. The d display devicee is placed in the
lap oof the observe er, such that materials aree
witnessed from a a first person view, and the eir
resulting sensatio ons felt on thee legs.
Wood, Lex xan, compute er with custom m Software,
LCD monitors e Mutual T
The ble (2007)
Touch Tab
Dimension ns variable h Hunter & Sajid Sadi
Seth
ers@mit.edu, sa
hunte ajid@media.mit.edu
O.f.f.i.c.e A.n.t.s is an interactive viddeo
installatioon that is a crooss between an ant farm
and a soft tware development compa any. The title
is a ten‐leetter‐acronym m for Organize ed, Fast,
Frantic, Inntelligent, Cor rporate Entiti ies Acting in
a Novel Te echnology Sim mulation. Viewers can
watch and d interact witth one hundre ed tiny
developer rs, working ar round the clo ock, trying to
meet thei and ship their
ir deadlines, a r virtual
products. The installation consists o of two
elements: a display cas mulated office
se for the sim e
and food for the developers. Viewe ers can
interact wwith the O.f.f.i.c.e A.n.t.s. bby using the
two small l canisters of developer no ourishment.
Shaking th he canisters oover the slot a at the top of ection, video camera, wate
Proje er, table.
the displa ay case will caause virtual foood and drink k 36 x 40 x 40"
o the cafeteria. The develo
to fall into opers The Mutual Touch Table is a playful
frequent t the cafeteria, , foraging for sustenance environment that t animates the connectionns
between meetings. If t the developer rs are not fedd betw
ween people.
often, pro oductivity will l lag. I would like to thank more information
For m n, see:
Jennifer L Lim for her heelp with this in nstallation. //www.perspect
http:/ tum.com
3
your partn
swing y )
ner (2007) oii (2007)
Goo
jackbackrack on Kim
Simo
jackbackrack@gmail.com nkim@mit.edu
simon
Rubb ber urethane,, PCB and microcontroller,
,
mon nitor and workkstation
12 x 1.5"
4 x 1
Gooe ey GUI [gooii].
computer r
r, lcd monitor more information
For m n, see:
36 x 36" //web.mit.edu/s
http:/ c/c12.html
simonkim/Public
winging structured improv
Partner sw visation
formed ov ver 100 simullated robots. Each robot
runs an id ram and communicates
dentical progr
ColorCave (2007)
m Kumpf
Adam
only with nearby robot es designate
ts. Green line pf@mit.edu
kump
local communication. Movement o occurs
through d nd collective d
distributed an decision
Thanks to Jak
making. T ke Beal for col llaboration
oto language.
on the Pro
encloosure, monitoor, joystick
3'x3'x6'
Colo ereo image viewport that
orCave is a ste
ws artists to d
allow draw with colored light in t three
dimeensional spac ce. Each image is produced d by a
simuulated time‐laapse photo leaving behind a full
color trace of the as he or she
e artist's tool a
exploores the 3D wworld.
4
dWeb (2007)
Tangled ways s that are not ned by any rules
t clearly defin
Christine Moran external to the dr rawing. A drawing can set its
weezer@mit.edu own rules and “w work” in comp plete and excl lusive
referrence to itself. It has no deependencies. A
Software, computer ha ardware uit, on the oth
circu her hand, functions
2 x 2' elect clearly delimit
tronically in c ted ways. Thee way
in which a circuit is designed a and the graph hical
TangledW Web explores t the dynamic growth of an patteerns which re esult are not iintended to mmean
attention capturing we teractive
eb: it is an int anytthing aestheti ally – they are
ically or visua e the
artistic representation of the human psyche. result of efficienccies, the laws of physics, annd
Beginning g with a rando om sampling of images, the pprocess of pro oduction. The ct of a
e visual aspec
videos, annd live onsite feeds, it learns which uit is irrelevan
circu ronic function
nt to its electr n. In
sampling and distribution captures high levels this series I am exxploring these e two very
of observer attention. The physical portion of erent forms of “function” –
diffe – with
TangledW Web is comprised of a monitor‐ proggramming as t the bridge – aand attempt t to tie
webcam‐r rangefinder innstallation; th he software “functions” of the drawing
the “ g and the circuit
portion, oof a suite of artificial intelligence togeether.
algorithmms; the interac ctive portion, of the more information
For m n, see:
communit ty viewing TaangledWeb, tr raining and /roypardi.com/ind
http:// ml
dicator_cc/Indicator0x01/index.htm
determini ing TangledW Web's future b behaviors. Be
drawn in.
e Sound of
The f Touch (2007)
es Raffle & Da
Haye avid Merrill
2007)
Indicator 0x01 (2 h Roberto Aim
With mi
s@media.mit.ed
hayes edia.mit.edu,
du, dmerrill@me
Roy Pardi rto@media.mit.e
rober edu
di.com
in@roypard
Steel, wood, custoom electroniccs, audio
proccessing softwa on a PC, and
are running o
ous materials
vario s
36 x 36"
Paint & ellectronics on paper Soun s a new instru
nd of Touch is ument for reaal‐
28 x 28" timee capture and sensitive phy ation
ysical stimula
Indicator OxO1 is the ffirst in a series of works
ound samples
of so s using digital convolution.. Our
that will e ntegration of s
explore the in simple
embedded electronics in paintings a and handd‐held wand c can be used tto record sound
drawings. . Drawings function aesthe etically in and then playbac ck the recording by brushinng,
5
scraping, striking or otherwise phys sically enerrgy converted d from a chem etic
mical to a kine
manipulat ting the wand d against phy ysical objects. state
e. The fluid dy
ynamics were e calculated wwith
ayback, the re
During pla ecorded soun nd is an advanced com mputational al lgorithm, and d
renddered with a rrealistic lighting simulator. . The
continuou by the acousti
usly filtered b ic interaction
ation and simulation reflec
situa ct the rapid
of the wand and the m material being g touched. A transsfer of powerr — both physical and
texture kit allows for convenient ac coustic emo otional — fromm an individual to the
on of a range of materials. An acoustic
exploratio community. All of f the meaning g and order
instrumennt’s resonanc ce is typically determined origi ed become los
inally intende st in the
by the maaterials from wwhich it is buuilt. With the turbulence.
more information
For m n, see:
Sound of Touch, resonant materials s can be //mark.technolo
http:/ p73.html
ope.org/image/p
chosen duuring the perf formance itse elf, allowing
performers to shape th he acoustics o of digital
sounds byy leveraging their intuition ns for the ndmaster
Ven 07)
3000 (200
acoustics of physical objects. The So ound of an Telhan
Orka
Touch perrmits real‐timme exploitatio on of the n@media.mit.ed
orkan du
perties of a physical enviro
sonic prop onment, to
achieve a rich and expressive contro ol of digital
sound thaat is not typically possible in electronic
sound synnthesis and co ontrol systemms.
For more information, see:
http://www m/projects/the‐sound‐of‐touch
w.hayesraffle.com
The Bomb
Inside T b (2007)
ck
Mark Stoc
mich.edu
mstock@um
Custtom hardware e design embeedded inside a
canddy dispenser.
x 1.6 x 4'
1.6 x
chival print
Digital arc Venddmaster 3000 0 is a candy dispenser that t
30 x 30" operrates with speeech recognittion. It offers
Inside Thee Bomb is a vi de of an
iew from insid ors from India
three exotic flavo a, Germany an nd
explosion‐‐‐in the split second whicch sees Sout users who are
th Korea for u e capable of
6
pronounc cing the name e of the brand d in the local u Tails
Soulserver: T
accent. Thhe game is sim mple: Users d deposit 25 i y
William Tremblay
cents for t their desired flavor and try y to mimic a o
w.tremblay@gmail.com
native speeaker in five t can succeed,
tries. If they c
they receive their cand dy. If not, the machine
gives their money back k. Trained by English
speaking Korean, Germ man and India an natives,
the augmented vendin ng machine us ses speech
recognitioon algorithms s to decide if tthe user can
speak simmilar to non‐na ative speaker rs. As users
pronounc Mike and Ike o
ce “Skittles, M or Hot
Tamales”, , the machine e records the different
ways to pronounce the ese unfamiliar words. As
users learrn more abou ut how to mim mic words to
pass theirr language tes st, they alienaate from
their own n language. Th hey speak a la anguage that
does not belong to eith her party, yett mimicked
and negot tiated on the fly. This unfa amiliar
language, , on the otherr hand is a gateway for
the machine to learn a about its othe er; extending
its history
y of sounds thhat correspon nds to the
Viny ttings, fake fur, fake bones,
yl electrical fit u s
ways to sa ay those part ticular words: : “Skittles,
latexx, motors.
Mike and Ike, Hot Tam males” in different accents.
For more information, see:
3 x 4'
3 x 3
http://web.media.mit.edu/~orkan/classes/fall06/idw/
/ / This is an experim ment in pseud do‐biology.
Wha at is the forcee that animate es us? What
server are you co onnected to? W What happen ns
when the connec ction is dropped?
7