Collage of algorithmically generated photographs on a Delta 1 gray card. (8x10)

Medium: Collage of algorithmically generated photographs on a Delta 1 gray card (8x10)

iPhone Pixel Trails on Gelatin Silver Paper

iPhone Pixel Trails on Gelatin Silver Paper

iPhone Pixel Trails on Gelatin Silver Paper

iPhone Pixel Trails on Gelatin Silver Paper

iPhone Pixel Trails on Gelatin Silver Paper

iPhone Pixel Trails on Gelatin Silver Paper

22 February 2006
Theresa
"I chose these shoes because they were on my feet for the entire 14 month tour I did for Operation Iraqi Freedom II. I just was able to take them off a few weeks ago and wear some real shoes. But, now that my feet are adjusted to wearing boots, heels are tough to get used to!! I was mobilized on 7 Dec 03 and returned home and discharged from active duty on 6 Feb 05. So, the boot have seen a lot!!"
 
...more stories at soleconnection.tumblr.com.

Sole Connection: A Mile in Another’s Shoes (2006 - Present) Online at soleconnection.tumblr.com.
 
“You won’t know a man until you’ve walked a mile in his shoes.” We spend so much of our time not paying attention to each other. When we take the time to share with each other and appreciate the subtleties, we become closer as a community, as a world.
 
Share your shoes. Share your story. Bare your Sole. ...join the project at soleconnection.tumblr.com.

Scott Blake's "QR Amy Goodman", Miyakawa's "Karmic Layers" (middle), Jessica Rowshandel's "Dear Babies, Please Forgive Me" (right, cut off)

Artwork by Ryan Hoover, Patterson Clark, Michelle Montalbano, Erika Stearly, Jarrett Davis, and Jesse Morgan Barnett.

Hasan Pitts of s/n Coalition scanning Ali Seley's phone after scanning s/n Coalition's "Beijing Remix"

Here, Erika Stearly's painting is being scanned and revealed on an iPhone at the Palimpsest Exhibition (2012)

A Washington Project for the Arts Coup d'Espace project Manipulated & Curated by Steven H Silberg and Neil C Jones. Participating artists: Jesse Morgan Barnett, Scott Blake, Patterson Clark, Jarrett Davis, Samantha DiRosa, Gary Duehr, Mark Geil, Julee Holcomb, Ryan Hoover, Miyakawa, Michele Montalbano, Matteo Pasin, Jessica Rowshandel, Sarah Sachs, Ali Seley, s/n coalition, Eric Souther, and Erika Stearly. From the Press release: "As digital texts—documents, photographs, video—become ubiquitous, we adapt to new ways of reading, adjusting to the layers of information these digital texts contain. In recent years, the QR code has become a common way of relaying additional information, allowing users with the correct technology to access additional data in everything from advertisements and museum exhibitions to business cards and printed books. But what if the QR code became the contemporary representation of information, displacing the original information? It wouldn’t be the first time that newer “text” has superseded the old. Throughout the history of the written word, parchments and vellum have been scraped clean of their original text and reused. Over time, that original text (the scriptio inferior) resurfaces through natural means or scientific research. An immediate relationship between the original text and new text is constructed through their juxtaposition." "Palimpsest alters the experience of viewing individual works of art by forcing viewers to experience the works through the mediation of this new technology. Artwork selected for the exhibition has been documented before being whitewashed or otherwise obliterated. A QR code, which links to the original documentation of the artwork, has been placed on the surface of each individual piece. While the individual works already address the layering of information, the very act of viewing the exhibition will force viewers to experience the layering and mediation the works address. Including work in a range of media—painting, photography, video, and sound—Palimpsest asks what these new methods of representing information mean for artists and their work."

[ curatorial team: Steven H Silberg, Chris Peregoy, Tom Beck ]
The re-presentation of archival images in part or as a whole has become a standard in contemporary photographic practice. Methods are as varied as the artists themselves from Rauschenberg’s inclusion of media images in his prints to Levine’s re-appropriation of FSA photographs and from Fontcuberta’s insertion of himself into archival images to Umbrico’s excising of images from the collective archive.
 
In conjunction with the 2014 SPE National Conference theme “Collaborative Exchanges: Photography in Dialogue”, The Special Collections Department of the Albin O. Kuhn Library & Gallery and the Department of Visual Arts, at UMBC offered the images of the Hughes Company Glass Negatives Collection for reinterpretation and reinvention.
 
Full archive of images and project description at the Hughes Remix Tumblr: http://hughes-remix.tumblr.com
 
This work has been accessioned into the UMBC Albin O. Kuhn Library & Gallery Digital Collections: http://contentdm.ad.umbc.edu/cdm/landingpage/collection/p16629coll16
 
A short article about the Hughes Remix project was included in Socially Engaged Art Journal. April 2014: http://www.sociallyengagedartjournal.org/2014/04/the-hughes-remix-project/

created with images from the Hughes Collection, University of Maryland, Baltimore County. (my submission to the Hughes-Remix project)

During the pop-up installation at BRINK creative digital agency in Washington DC (10/22/15-12/7/15), two instances of Mirror minus were installed on opposing walls, allowing the viewer to engage in the space between the projections. This is documentation of one moment as seen by (and projected upon) the two screens.

documentation photo from the installation of this work at the Ann Arbor Art Center, Summer 2015. (via Kimberly Murphy—instragram:_kimmis_)

During installation of “Mirror Minus” at Rosewood Art Center (Kettering, OH), yoga sessions where held in the gallery. Rather than coming as deliberate viewers of the artwork, these participants began to explore the abstract documentation of their movement in relation to their yoga practice. The image on the right of the composite is a screen capture of the projection that appears in the image on the left) Rosewood Art Center, Kettering, OH, 05-02-2014

The first documentation from the inaugural installation of this yet untitled interactive artwork, which works on the same principle as my Reductive Video works. Installed at Howard County Arts Center, Ellicott City, Maryland. January 2014-February 2014. Using a webcam, the space is analyzed for changes and those changes are projected back into the space.

Photograph of the projection created by Mirror Minus while I was documenting the installation.

10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.

10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.

10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.

10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall. This image was selected by Maryland Art Place for their IMPRINT program in 2014. ( more info at http://mdartplace.org/opportunities/imprint )

10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.

10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.

10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.

10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.

10.2" x 13.6" (the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.

15 images (each 10.2" x 13.6" - the dimensions of a 17" computer monitor) printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.

"Experiments in Reductive Video" moves the work of Eadweard Muybridge, Etienne-Jules Marey, and Thomas Eakins into the 21st century, highlighting the changes in motion and movement as experienced and recorded by technology. Video of a person, place, or action is captured and processed, comparing one frame of video against the next. Only those pixels that differ from the previous frame are then displayed. These changes are then compiled into a single print. By presenting video and print side-by-side, viewers are able to both isolate motion and experience the whole event in an instant.

"Experiments in Reductive Video" moves the work of Eadweard Muybridge, Etienne-Jules Marey, and Thomas Eakins into the 21st century, highlighting the changes in motion and movement as experienced and recorded by technology. Video of a person, place, or action is captured and processed, comparing one frame of video against the next. Only those pixels that differ from the previous frame are then displayed. These changes are then compiled into a single print. By presenting video and print side-by-side, viewers are able to both isolate motion and experience the whole event in an instant.

Print. presented with partner video. dimensions variable (ranging from 16" x 9" to 32" x 18") printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.

partner video for print: "Male Juggler - Anterior View, 2010"

Print. presented with partner video. dimensions variable (ranging from 16" x 9" to 32" x 18") printed on uncoated Rives BFK. Hand torn edges. Mounted to "float" against the wall.

partner video for print: "Female Cyclist - Left Lateral View, 2009"

small installation of After Muybridge, After Marey - 4 images flanking the 4 partner videos (played in sequence on one screen)

An overview of the reductive video process as used in "After Muybridge, After Marey"

Lumen print on RC paper from digital paper negative.
Fixed for permanence.

7/10/13-7/11/13
Lumen print of a banana peel exposed across 2 overcast days with overnight rain (6pm-9am)
Kodabromide
single weight
E2
Unfixed

5/17/13
Lumen Print of Cilantro leaves over inkjet image of coriander seeds.
Ilford
Warm Tone
Fiber
Glossy
Unfixed

5/30/13
Lumen Print of Grape leaves over inkjet image of grapes.
Agfa
Portriga-Rapid PRK 118
Fine-Grained Matt
Unfixed

12 hour exposure on
Agfa
MultiContrast Premium MCP310RC
Glossy
Unfixed

10/15/2013 - 10/16/2013
Exposed by leaving in an area that in shaded during the entire day from 9:10pm to 9:10pm
Forte
PolyWarmtone Art
Ivory Base
Unfixed
[Produced as part of my collaboration for The Light Ekphrastic (Nov. 2013): http://thelightekphrastic.com/issues/november-2013-issue-16/porter-silberg-nov-13/ ]

When users of the home version of the pixel-lapse photo booth select "Share Image", completed pixel-lapse photos are automatically uploaded to the home users' shared gallery at pixel-lapse.com
 
Visit http://www.pixel-lapse.com to download a version of pixel-lapse that you can run on your own computer. Share your images in the online gallery.

Visit http://www.pixel-lapse.com to download a version of pixel-lapse that you can run on your own computer. Share your images in the online gallery.

A full archive of images from all exhibitions can be found at http://pixel-lapse.com/installation.htm

A full archive of images from all exhibitions can be found at http://pixel-lapse.com/installation.htm

A full archive of images from all exhibitions can be found at http://pixel-lapse.com/installation.htm

A full archive of images from all exhibitions can be found at http://pixel-lapse.com/installation.htm

A full archive of images from all exhibitions can be found at http://pixel-lapse.com/installation.htm

Colophon:
INTERNET MEME, VOLUME 4 is printed in an edition of 10 copies & 2 Artist Proofs by Steven H Silberg.
 
Images are sequenced from the video, "Badgers" as found on weebls-stuff.com, at 12 fps and printed on Fabriano Artistico Extra White, 140lb. Hot Press using Dr. Mike Ware's "New Cyanotype" diluted 1:1. The typeface is Trinigan FG designed by Andreas Höfeld (Fontgrube)

Colophon:
INTERNET MEME, VOLUME 4 is printed in an edition of 10 copies & 2 Artist Proofs by Steven H Silberg.
 
Images are sequenced from the video, "Badgers" as found on weebls-stuff.com, at 12 fps and printed on Fabriano Artistico Extra White, 140lb. Hot Press using Dr. Mike Ware's "New Cyanotype" diluted 1:1. The typeface is Trinigan FG designed by Andreas Höfeld (Fontgrube)

Colophon:
INTERNET MEME, VOLUME 2 is printed in an edition of 10 copies & 2 Artist Proofs by Steven H Silberg.
 
Images are sequenced from the video, "Baby Cha Cha" as found on YouTube, at 12 fps and printed on Fabriano Artistico Extra White, 140lb. Hot Press using Dr. Mike Ware's "New Cyanotype" diluted 1:1. The typeface is Trinigan FG designed by Andreas Höfeld (Fontgrube)

Colophon:
INTERNET MEME, VOLUME 2 is printed in an edition of 10 copies & 2 Artist Proofs by Steven H Silberg.
 
Images are sequenced from the video, "Baby Cha Cha" as found on YouTube, at 12 fps and printed on Fabriano Artistico Extra White, 140lb. Hot Press using Dr. Mike Ware's "New Cyanotype" diluted 1:1. The typeface is Trinigan FG designed by Andreas Höfeld (Fontgrube)

Colophon:
INTERNET MEME, VOLUME 1 is printed in an edition of 3 copies by Steven H Silberg.
 
Images are sequenced from the video, "Dramatic Chipmunk", at 12 fps and printed on Fabriano Artistico Extra White, 140lb. Hot Press using Dr. Mike Ware's "New Cyanotype" diluted 1:1. The typeface is Trinigan FG designed by Andreas Höfeld (Fontgrube)

Colophon:
INTERNET MEME, VOLUME 1 is printed in an edition of 3 copies by Steven H Silberg.
 
Images are sequenced from the video, "Dramatic Chipmunk", at 12 fps and printed on Fabriano Artistico Extra White, 140lb. Hot Press using Dr. Mike Ware's "New Cyanotype" diluted 1:1. The typeface is Trinigan FG designed by Andreas Höfeld (Fontgrube)

Lord of the Rings: Fellowship of the Ring (2001)
Peter Jackson
777 x 331

Fear and Loathing in Las Vegas (1998)
Terry Gilliam
634 X 270

TRON (1982)
Steven Lisberger
571 x 243

Star Wars: A New Hope (1977)
George Lucas
641 x 273

2001: A Space Odyssey (1968)
Stanley Kubrick
709 x 302

Long before the cave at Lascaux, humans attempted to record complex ideas and events through writing and drawing. Language developed as a means to abstractly represent actions and emotions, writing as a means to visually describe that spoken language. Words on the page have become shorthand for memories of experience.
 
Music uses the same model, transcribing symbols to a page to represent tempo, duration, and pitch. The notes on the staff of the conductor's score transcend sound alone aiding in the memory, feeling, and emotion of the musical experience.
 
In Western culture we find this transcription has been standardized in format, from left to right and top to bottom. Even our computer screens have been laid out in the same way, dividing image into discrete elements that individually are meaningless but as a whole describe a greater experience.
 
"Now Playing" records the feeling of a movie — the overall color cast of each individual frame — and sequences it left to right / top to bottom in the same manner as our music and writing. Borrowing from the formatting of a computer screen, each frame of a video or film is reduced to the size of one pixel and placed next to the moment in time that preceded it.
 
In each image the viewer is able to examine a representation of the entirety of a film while calling upon his/her memory of the experience of having seen the film. In essence, the image is a visual score of the temporal experience of the film that can be read or viewed in an instant.
 
A full archive of movies processed through this process can be found at: http://www.shsarts.com/wip/nowplaying.htm

Cedar, Vine, Oil Paint 75" x 90" x 12" 2012

Users / Viewers interact with the receiver (microphone) to alter the original image [Beijing, 2006]

Image recorded from the installation at the Decker Gallery, MICA, Baltimore, MD (Spring 2004)

Project Statement
Within the artistic realm, there is the potential for manipulation, damage, decay, or loss to be exhibited as a creative process. This creation/damage itself occurs both because of, and in spite of, human interaction. The resulting artwork emerges from the collaboration between the disruptor of data and the reorganizer/interpreter of information.
 
By reassessing the relationship between the disruptor and the organizer, degradation can be considered a constructive process. The traditionally desired purity of data transmission and transfer, though experienced, becomes less preferable. Noise then becomes a tool of creative expression.
 
While the introduction of noise into an existing structure or system creates something new, it does so at the cost of the original. Degradation, as an act, may become a creative variation upon a source image, but that visual disruption reflects a loss of information.
 

Image recorded from the installation at Missouri State University (Fall 2007)