Writing to come very soon...

 

 

 

Old reviews from my delray days:

Nine videos on the divide between technology and the human figure. The strongest is Pixave: Denominator by Matthew Biederman and Bart Woodstrup: mostly abstract sounds accompany moving grid patterns, whose tightly woven, almost hypnotic surfaces seem to exclude the human figure, and in a chilling moment near the end, trees viewed from the window of a moving vehicle give way to the stark forms of electrical transmission towers, suggesting that our “real world” is equally abstract and removed from nature.

from the Chicago Reader: http://www.chicagoreader.com/movies/sidebars/cuff2000.html

Matt Biederman and Bart Woodstrup demonstrated the DelRay laboratory, which is an installation that is site and time specific.
DelRay creates images and sound from colliding visual and audio signals (Figure 14). Biederman constructs the visual synthesis
using Nato, and Woodstrup uses MSP to generate and manipulate sound. Video cameras and other sensors, such as light and
temperature, gather data that feed into the system, adding to the dialogue between the Biederman's and Woodstrup's workstations. In the end, this collapsing of data creates a visualand aural experience that is harmonic and represents some of the real life results of the coincidental collision of old and new technology.The artist says that "It]his is a kind of perversion of technology. In this time all sorts of distortions and misunderstandings will appear; where the complexity of digital systems causes mutations as well as innovation:' As a result, the work comments on the chance of innovation not only in technology, but also in our social and cultural lives. In this installation, the viewers witness the creation of harmony as they observe the connection of disjoint data take form.

from The SIGGRAPH 2002 Art Gallery: Process and Product by Dena Elisabeth Eber

Media artist Matthew Biederman's Delray project is a technologically elaborate collaboration with Chicago-based musician, Bart Woodstrup. Each artist employs a digital workstation, processing environmental data input through temperature, light, motion sensors and video cameras, which algorithmically determines the dynamics of the sound or video. Woodstrup utilizes local software maker Cycling 74's Max MSP to apply granular, wavetable and FM synthesis (to name a few processes) to the environmentally-impacted audio. Biederman uses a variety of programs like QuickDraw to make auto-compositions and Open GL, as well as QuickTime to create video collages. The two artists' workstations are networked, allowing for a dialogue between audio and image, occasionally creating feedback loops.

from Sight and Sound by Sarah Lockhart