R. Luke DuBois

Hindsight is Always 20/20
portfolio set of 43 letterpress prints with custom box.
(41 eye charts, 1 cover page, 1 synopsis page)
Each print: 21 x 28″ / 54 x 72 cm
Edition 10
Courtesy bitforms gallery

Hindsight is Always 20/20 examines the history of American political discourse through the metaphor of vision. Drawing from the annual State of the Union (SOTU) addresses given by Presidents to Congress, Hindsight consists of a single Snellen-style eye chart for each president who gave SOTU addresses. Instead of the typical characters present in an eye chart, the piece employs words drawn from their speeches, presented in order of most frequent (top line) to least frequent (bottom line) word. The result is a startlingly clear snapshot of the lexicon of each presidency, containing a mix of historically topical keywords and rhetoric unique to each president and the time period in which they served in office.

Here is a site where you can see each of the “charts” – http://hindsightisalways2020.net/

A More Perfect Union – State and Country Maps
pigment-ink on photo rag
18 x 24″ / 46 x 61 cm
Edition 3, 2 AP
Courtesy bitforms gallery

A More Perfect Union by R. Luke DuBois looks at American self-identity through the medium of online dating services. Culling data from over twenty online dating sites, the work is organized according to the same heuristics as the U.S. Census, sorting dating profiles by Congressional District and subjecting the imagery and text to statistical analysis.
The Country maps are colored in a ‘red-state/blue-state’ pattern, showing how 4 different adjectives (‘kinky’, ‘shy’, ‘funny’ and ‘lonely’) are spread across the country among women and men.

Here is a short documentary about Luke’s “A More Perfect Union”

Revealing a ‘dating lexicon’ of each state, DuBois built maps using the words provided by 16.7 million people describing themselves and those they desire. Comprised as a romantic atlas of the United States, each regional geography uses key- words from dating profiles in lieu of the city and town names.

Hard Data
Internet, custom code, audio, speakers
Courtesy bitforms gallery

Hard Data is a data-mining and sonifica- tion project based around data from the American military actions in Iraq from 2003 to 2011. The aim of the piece is to create an open-source score which can be realized by any number of people in any medium. The version presented here depicts the data of the war’s civilian and military casualties in six different “movements” that translate the data of the conflict into a musical score and interactive visualization. Conceptually, it riffs off of Xenakis’ understanding of formalized music, though musically it mixes in more than a little Stravinsky, Messiaen, and Crumb, three composers who wrote in the time of war. Most importantly, however, this realization is grounded in an algorithmic realization of the source data through the filter of that country’s current national anthem, Mohammad Flaifel’s setting of Ibrahim Touqan’s 1934 poem Mawtini.


Siebren Versteeg

In Light; of Everything, 2010
computer program output to 46″ LCD touch screen display, anodized aluminum frame
40.1 x 22.6 x 3″/ 101.9 x 57.4 x 7.6 cm
series of 7 unique
Courtesy bitforms gallery

This work is a continuously generating touch-scroll composition that can be navigated by the viewer in real-time. On-screen imagery never repeats and is informed by random Google images as well as algorithmic painting gestures programmed by the artist. At the same time each day, the composition selects a new dominant color scheme out of 7 options: red, orange, yellow, green, blue, violet and black. The work can be customized by the collector to refresh its color scheme at a specific time each day.

The work continually refreshes itself, eliminating old images and adding new ones. Additionally, each day the artwork selects a different dominant color (black and white, red, orange, blue,red, purple, or yellow) revealing yet another layer to the open but structured composition.

Video – http://www.bitforms.com/movies/versteeg/iloe.mov


Rafael Lozano-Hemmer

Zero Noon, 2013.
Computer, software,
square 17” HD display w/metal enclosure,
courtesy bitforms gallery

Zero Noon

Zero Noon is a digital clock that shows the current time according to eccentric metrics: it uses hundreds of different reference systems. For example, the clock can tell the time based on the average number of daily financial transactions in Brazil, the average daily amount of cookies sold by girl scouts, the number of animal species that become extinct per day, and so on. Basically, Zero Noon is a clock that is run by internet- refreshed statistics.

The statistics are all synchronized so that precisely at noon they start over from zero. Automatically, a new metric is displayed in a different color chosen from a determined palette. The public may also change the statistics by manually scrolling through the list using small push-buttons under the built-in display. This guarantees that the content of the clocks is always fresh and thought-provoking. The statistics come from government data, Harper’s Magazine, financial institutions, academic studies and other trusted sources. The actual metrics are chosen by the artist’s studio but the collector is also able to add statistics to the system. The idea is for the metrics to never repeat within a calendar year.

Zero Noon generates a faint “ticking” sound every time that the handle passes noon. For some statistics this ticking will be very sporadic, whereas for others it will be very frequent.


Casey Reas

Signal to Noise (5), 2013.
Computer, software, HD display, dimensions variable, courtesy bitforms gallery

Signal to Noise is a collage engine that uses terrestrial television signals as the raw material. Like early twentieth-century collages built from the media of that time and mid-century video collage, Signal to Noise fractures and distorts contemporary information into new data structures.