New Media Projects (Other) |
| 360 et al: Some of Chambers' first work involves the simple font software, Xara3D to take a look at motion as a significant dimension in art. Early Kinetic Art (Abstract Expressionism) is nonmechanical (Calder's mobiles) or mechanical (Gabo, Laszlo Moholy-Nagy, and Jean Tinguely), and Chambers turns his attention towards the digital/electronic (e) version creating such pieces as "360", "Triangle Line Line", "Crossover", "Ribbon Rush", "Backbone", "Kubrick's Monument" and "Synapse".>> |
| Public Domain Reconstruction: Chambers continues with Kinetic Art such as "Red Lines", "Dot to Dot" and others. There are an infinite - it seems - number of animated images (.gif files) in the public domain on the Internet, and Chambers reconstructs the purpose of the single .gif file through background image utilization. This reconstruction produces a background of Kinetic (e) Art. "Red Lines" was exhibited as a part of the Information Visualization Symposium, University of London, London, England, July 14-16, 2004.>> | |
| Streak 16: Chambers appropriates his "360" piece through multiple framing (Web mechanics) to produce "Streak 16". He considers this project Connective Art in the sense that the viewer can manipulate the overall image by utilizing the vertical and horizontal scroll bars of each frame to create his/her version. When "Streak 16" is manipulated, its repetitive nature seems to be broken, but only in the sense of and due to change in position/placement - creating hybrids of Kinetic Art. "Streak 16" was exhibited as a part of the Information Visualization Symposium, University of London, London, England, July 16-18, 2003.>> |
| Mother's 45s Revisited: Chambers revisits his Mother's 45s project through appropriation of several of the photo/record-assemblage images by utilizing tiling/slide show for one and the addition of word art - song names - for the others. The tiling/slide show approach affirms remembrance/commemoration as a result of significant loss (in the physical sense), and the word art through song titles and the informal term, mom affirm the relationship between a son (Chambers) and his mother.>> |
| SWR:TMC Revisited: Chambers revisits his photo documentary project, Southwest of Rusape: The Mucharambeyi Connection through appropriation of four of its images by utilizing Web mechanics (frames/marquee) and 3D software to move the conventional (static) project to another level via digital (e) treatment. The inclusion - in a new media way - of African ornaments/symbols breaks the original 2D plane for an unexpected look/view, and adds an additional cultural element.>> |
| Pscan Derivatives: Chambers' fifth generation of "Pixelscapes" takes on a kinetic identity through the utilization of the lens applet. Allow your vision to play on both fields (background and simulated foreground via magnification and movement) to establish a relationship - distant and close - between the two. It's also interactive by placing the cursor on the lens and moving it about for closer study. "Pscan Derivative PFG-2" was exhibited at the Today Art Gallery, Beijing, China, November 4 - 10, 2005.>> | |
| Ptone Derivatives: Chambers' next (second) generation of "Pixelscapes" takes on a kinetic identity through the utilization of the halftone filter and huerot applet. Allow your vision to absorb the color (rotation)/pattern changes to evoke a certain mood(s). "Ptone Derivatives" were exhibited as a part of the Digital Showcase 15 (group show), Austin Museum of Digital Art (AMODA), Austin, Texas, U.S.A., May 28, 2002.>> | |
| Chinese Character Studies: Chambers' sensitization to the Chinese language led him to this study utilizing various Chinese characters as Flash movies. He views the characters not as a language, but as objects/subjects within their translated environment. These movies and still versions were presented as a part of the Digital/New Media Art Seminar at Zhaoqing University, Zhaoqing China, 2005.>> |
| Parts make a whole: Chambers put together this exercise in irony and interaction leading to possible frustration for the participant. He doesn't necessarily want you (the participant) to view the whole, which is a record of one of the saddest and most shameful periods in his country's (America) history. Perhaps a part or glimpse is enough. However, it is possible to access the record through continued utilization of the mouse - a chasing of history, if you will. And as you move the mouse about, the exercise (each piece) also becomes kinetic (Abstract Expressionistic).>> |
| Just in time: Chambers' Flash movie focuses on the element of time - a continuum of experience - as it relates to a period of time from 1949 to 1977 in China and portrayed on the cover of the American publication, Time. Again, the element of time (and its influence on Kinetic Art [sound]) supersedes the historical/political connotations that might arise through such interpretations, good or bad. The magazine issues are in the years, 1949, 1967 and 1977; and the song is sung by Maysa. [Open window full screen; allow loading time; press Alt+F4 to close.].>> |
| Ahmedabad Profile: Chambers put together this video/Net art piece when he was conducting a new media art workshop at the National Institute of Design in India (July, 2006). India was so overwhelming in terms of sensory stimuli for Chambers that he chose to do a video piece that would get this point across to the viewer by using a repetitive and delayed process with the same video to compound its effect. Please allow loading time.>> |
| Kites For Gandhi: Chambers put together this Flash movie when he was conducting a new media art workshop at the National Institute of Design in India (July, 2006). Kites are significant in India to rejoice in the spirit of the day and as a part of the Makar Sankranti Festival (change of season), and Mahatma Gandhi spent a portion of his life at an ashram (hermitage) near Ahmedabad. Chambers created this movie as an offering and out of respect for this philosopher and leader of the people. It was exhibited as a part of NMA@NID held at the National Institute of Design, July, 2006. Please allow loading time.>> |