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From its beginning in 1990, Blast has set out to explore contemporary texts and images and their accompanying practices of reading, viewing, and authoring. Blast has conducted these explorations in terms of a publication, investigating the changing

Digital video installation 1 monitor colour, silent An installation using one monitor, one live computer feed (simulating in realtime the process of genetic recombinance), one rock with crystals growing over it and a tank with live fish.

Stills from a series of computer generated animations These works were produced using a home-built S-100 bus system employing asynchronous 8MHz/11MHz 8080/8088 (8 bit/16 bit) CPU's and Matrox video cards with home-developed digital to analogue

Digital video 20 mins, colour, silent A set of abstract computer animations based on recombinant geometries. (source: http://www.littlepig.org.uk/)

Digital video 20 mins, colour, silent A set of abstract black and white realtime computer animations (source: http://www.littlepig.org.uk/)

The six video segments in Jordan Crandall's installation Heatseeking were shot with a diverse array of technologies, including surveillance apparatuses used by the U.S. Border Patrol to search out and capture illegal immigrants crossing over

"Part soft-core pornography, part political allegory and part Modernist play with media," Jordan Crandall's Trigger is a "sermon about masculinity, sex, surveillance, and violence." (Ken Johnson, The New York Times, 15 Nov 2002). "The work

Recollections IV is an interactive video installation that invites the participant to move in front of a large video projection screen. As the person moves, his or her image is recorded by a video camera and passed on to a computer with special

This work was made in response to Patrick Lichty's request for a web based artwork which would critically address the icon, an essential element in most graphical user interfaces found in computer operating systems today. Recombinant Icon refers

HOMEFRONT Surveillance, monitoring, and tracking technologies are not only media of control; they are media of self-reflection and self-awareness. There is a reciprocity between the way that control technologies function and the way that identity