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Peter Flemming
Peter Flemming Curriculum vitae, March 2010 www.peterflemming.ca peter@peterflemming.ca all locations Canada, unless otherwise mentioned Artist
sta
tement I see what I make as the electromechanical equivalents of short stories. Instead of
Shock Absorber
2001
-
2001
In "Shock Absorber" a live feed is taken from broadcast television and separated it into two parts in real time. One part contain
s a
ll the movements, edit
s a
nd high frequency vi
sua
l stimulation. The other part contains everything that is left over
The Trend Is Your Friend!
2009
Trend
s a
re all the trend. Alongside fashion and health it i
s a
nalyses of economic trend
s a
nd flows of finance and commodities which are
sha
ping our environment. To what extent do they influence and change u
s a
s individual
s a
nd a
s a
society? By
Peripheral trajectory
2015
In Peripheral Trajectory you
sta
nd with your upper body in a horizontal cylinder while 3D image
s a
re projected on its surface. The work completely absorbs you and gives you an intense full-body experience of pure motion by projecting images in your
Her Long Black Hair
2004
-
2004
Janet Cardiff's Her Long Black Hair i
s a
35-minute journey that begin
s a
t Central Park South and transform
s a
n everyday stroll in the park into an absorbing psychological and physical experience. Cardiff takes each listener on a winding journey
Absorbing Modernity Panel, Architecture and Design Scotland for Venice Biennale: Re-Casting Modernism -- celebrations of Architecture Scotland Pavilion (March 17, 2015)
2015
-
2015
Why EK Modernism matters? wa
s a
conference paper and discussion that examined the legacies of the net artwork (EKnewTown.com). This pioneering net artwork enabled resident
s a
nd visitor
s a
nywhere in the world to explore East Kilbride first hand by
Optical Diffraction
2021
-
2021
Video in
sta
llation – diptych: Upper part: video projection: Bodyfraction 2020 (Uršula Berlot & Sunčana Kuljiš), Hyperoptics 2021 (Uršula Berlot); sound:
Sca
nner – Robin Rimbaud Lower part: light image-object: laser-cut and digital print on
Difference Engine #3
1995
-
1999
The Difference Engine #3 uses the architecture of the ZKM Media Museum a
s a
3D template and the visitors to the museum as the interface. It i
s a
n interactive, multi-user, sculpture about surveillance, voyeurism, digital absorption and spiritual
Andrew Carnie
I
s a
n artist and academic. He is currently part of the teaching team in Fine Art
s a
t Winchester School of Art, University of Southampton, England. He was born in 1957. He studied chemistry and painting at Warren Wilson College, North Carolina, then
Network Neuro-Baby
1995
Neuro-Baby i
s a
communication tool with its own personality and character. Through emotional modeling, it reacts to changing voices, hand
sha
ke intensity, and facial expressions. Artificial neural network
s a
llow the system to "learn" from individual
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