Prototyping for a colour-based multi-player large-scale table-top game wherein you are able to use your fingers to mix and match coloured fireballs of plasma and hurl them at each other in a battle of colour theory wits.
This is V1 and V2 of prototype for an installation conceived of by myself, Jon Seguin, and Tino Kapataneas.
FUTV is a small device that joins wifi-RF connectivity with Mitch Altman’s brilliant “TV B Gone” circuit. The circuitry is all contained in an inconspicuous utility panel box that can be stuck onto the wall of any bar or restaurant where you might want to have discreet control over their televisions, making FUTV Toronto’s Number One Channel for No News, No Sports, or No TV Entertainment.
Hired as lead producer to create a video from existing photos for the Astral Media 50th Anniversary Celebration.
The final video was projected behind artist Chantal Kreviazuk and was timed to the song that appears on this version of the video.
My role as producer included selecting images from a large set of archival photos, and overseeing all animation and editing, managed by the excellent production team from Endless Films. I was also the lead photo editor, and handled a significant amount of image restoration as well as all close-cropping needed for the parallax displacement effects.
Custom Made Morse Code to Twitter Machine – when I created this I could not find any other examples on the web of morse code as an input to Twitter, meaning this may have been the first of its kind (but who knows…).
Morse encoded button presses sent by Arduino — compiled and displayed on screen by Processing — sent to twitter with push of a button. I handled all software and electronics.
This is a prototype, the interface is simple buttons and switch embedded in a lasagna tin, sending serial data to a custom Processing sketch.
Sadly my camera was stolen very soon after finishing this and the only pictures and videos I have left are these shaky videos from when it was still being tested:
Prototype v1 – exploration of a potential artwork, completed for a physical computing class.
This is an automata that embodies the story of Eadweard Muybridge’s first capture of the motion of a horse in the period of 1877-78. This is the key moment where the horse runs across the tripwires in rapid succession, capturing the animal’s movement into a series of iconic photographs.
Lights that accompany the automata both echo the camera flashes used by Muybridge, while also casting shadow silhouettes of the horse onto a wall in direct reference to the original stills comprising his moving images.