Street Scene

Street Scene

Meudon, 1928 [André Kertész] (+48°48'43.20"N +2°14'49.20"W)

Continuing in the tradition of re-photographic projects, Street Scene uses the Internet and immersive travel simulators, such as Google Street View and Bing Streetside, to virtually journey to sites where iconic images from the history of photography and cinema were created. Photography, cinema, and newer technologies like Street View share a relation as mediums that have been used as surrogates for travel and a way of augmenting lived experience. While serving a similar impulse, each platform delivers its own unique perception of reality. In choreographing a mashup of content that offers varied perspectives of a place, we overlay the iconic image with the virtual landscape and then, relying on the vernacular of the digital image, allow an intelligent computer process to determine how those two sets of information will interact and composite.

To further the dialogue between the camera’s witnessing of the physical landscape and the mediated experience of its virtual equivalent, the images are written back into by glitching them with information gathered while researching the locations of the photographs. Navigating the Internet to find these locations is an exercise in traversing a hyperlinked set of stories, dead ends, data sets, news accounts, and testimonies. These signposts are presented below the image in an arrangement that produces a dialogue between the physical world and the datastream, past and present, banality and spectacle, filmic narratives and anonymous landscapes, amongst many other unanticipated relations. We seek to leverage these complex layers of mediation in creating a new form of image that probes our experience or non-experience of places through the proxy of the electronic image.

In collaboration with Jon Horvath.

Street Scene

Street Scene

Eternal Sunshine of the Spotless Mind (40°39'42.5"N 74°06'45.7"W)

Continuing in the tradition of re-photographic projects, Street Scene uses the Internet and immersive travel simulators, such as Google Street View and Bing Streetside, to virtually journey to sites where iconic images from the history of photography and cinema were created. Photography, cinema, and newer technologies like Street View share a relation as mediums that have been used as surrogates for travel and a way of augmenting lived experience. While serving a similar impulse, each platform delivers its own unique perception of reality. In choreographing a mashup of content that offers varied perspectives of a place, we overlay the iconic image with the virtual landscape and then, relying on the vernacular of the digital image, allow an intelligent computer process to determine how those two sets of information will interact and composite.

To further the dialogue between the camera’s witnessing of the physical landscape and the mediated experience of its virtual equivalent, the images are written back into by glitching them with information gathered while researching the locations of the photographs. Navigating the Internet to find these locations is an exercise in traversing a hyperlinked set of stories, dead ends, data sets, news accounts, and testimonies. These signposts are presented below the image in an arrangement that produces a dialogue between the physical world and the datastream, past and present, banality and spectacle, filmic narratives and anonymous landscapes, amongst many other unanticipated relations. We seek to leverage these complex layers of mediation in creating a new form of image that probes our experience or non-experience of places through the proxy of the electronic image.

In collaboration with Jon Horvath.

Street Scene

Street Scene

Behind the Gare St. Lazare [Henri Cartier Bresson] (48°87’91.02, 2°32’34.99)

Continuing in the tradition of re-photographic projects, Street Scene uses the Internet and immersive travel simulators, such as Google Street View and Bing Streetside, to virtually journey to sites where iconic images from the history of photography and cinema were created. Photography, cinema, and newer technologies like Street View share a relation as mediums that have been used as surrogates for travel and a way of augmenting lived experience. While serving a similar impulse, each platform delivers its own unique perception of reality. In choreographing a mashup of content that offers varied perspectives of a place, we overlay the iconic image with the virtual landscape and then, relying on the vernacular of the digital image, allow an intelligent computer process to determine how those two sets of information will interact and composite.

To further the dialogue between the camera’s witnessing of the physical landscape and the mediated experience of its virtual equivalent, the images are written back into by glitching them with information gathered while researching the locations of the photographs. Navigating the Internet to find these locations is an exercise in traversing a hyperlinked set of stories, dead ends, data sets, news accounts, and testimonies. These signposts are presented below the image in an arrangement that produces a dialogue between the physical world and the datastream, past and present, banality and spectacle, filmic narratives and anonymous landscapes, amongst many other unanticipated relations. We seek to leverage these complex layers of mediation in creating a new form of image that probes our experience or non-experience of places through the proxy of the electronic image.

In collaboration with Jon Horvath.

Street Scene

Street Scene

The Accident at the Gare Montparnasse (+48°50'31.11"N +2°19'13.14"W)

Continuing in the tradition of re-photographic projects, Street Scene uses the Internet and immersive travel simulators, such as Google Street View and Bing Streetside, to virtually journey to sites where iconic images from the history of photography and cinema were created. Photography, cinema, and newer technologies like Street View share a relation as mediums that have been used as surrogates for travel and a way of augmenting lived experience. While serving a similar impulse, each platform delivers its own unique perception of reality. In choreographing a mashup of content that offers varied perspectives of a place, we overlay the iconic image with the virtual landscape and then, relying on the vernacular of the digital image, allow an intelligent computer process to determine how those two sets of information will interact and composite.

To further the dialogue between the camera’s witnessing of the physical landscape and the mediated experience of its virtual equivalent, the images are written back into by glitching them with information gathered while researching the locations of the photographs. Navigating the Internet to find these locations is an exercise in traversing a hyperlinked set of stories, dead ends, data sets, news accounts, and testimonies. These signposts are presented below the image in an arrangement that produces a dialogue between the physical world and the datastream, past and present, banality and spectacle, filmic narratives and anonymous landscapes, amongst many other unanticipated relations. We seek to leverage these complex layers of mediation in creating a new form of image that probes our experience or non-experience of places through the proxy of the electronic image.

In collaboration with Jon Horvath.

Street Scene

Street Scene

Bus Station [Ken Josephson] (41°53'04.2"N 87°37'51.4"W)

Continuing in the tradition of re-photographic projects, Street Scene uses the Internet and immersive travel simulators, such as Google Street View and Bing Streetside, to virtually journey to sites where iconic images from the history of photography and cinema were created. Photography, cinema, and newer technologies like Street View share a relation as mediums that have been used as surrogates for travel and a way of augmenting lived experience. While serving a similar impulse, each platform delivers its own unique perception of reality. In choreographing a mashup of content that offers varied perspectives of a place, we overlay the iconic image with the virtual landscape and then, relying on the vernacular of the digital image, allow an intelligent computer process to determine how those two sets of information will interact and composite.

To further the dialogue between the camera’s witnessing of the physical landscape and the mediated experience of its virtual equivalent, the images are written back into by glitching them with information gathered while researching the locations of the photographs. Navigating the Internet to find these locations is an exercise in traversing a hyperlinked set of stories, dead ends, data sets, news accounts, and testimonies. These signposts are presented below the image in an arrangement that produces a dialogue between the physical world and the datastream, past and present, banality and spectacle, filmic narratives and anonymous landscapes, amongst many other unanticipated relations. We seek to leverage these complex layers of mediation in creating a new form of image that probes our experience or non-experience of places through the proxy of the electronic image.

In collaboration with Jon Horvath.

Street Scene

Street Scene

The Truman Show (30°32’14.96 N  -86°14’16.34 W)

Continuing in the tradition of re-photographic projects, Street Scene uses the Internet and immersive travel simulators, such as Google Street View and Bing Streetside, to virtually journey to sites where iconic images from the history of photography and cinema were created. Photography, cinema, and newer technologies like Street View share a relation as mediums that have been used as surrogates for travel and a way of augmenting lived experience. While serving a similar impulse, each platform delivers its own unique perception of reality. In choreographing a mashup of content that offers varied perspectives of a place, we overlay the iconic image with the virtual landscape and then, relying on the vernacular of the digital image, allow an intelligent computer process to determine how those two sets of information will interact and composite.

To further the dialogue between the camera’s witnessing of the physical landscape and the mediated experience of its virtual equivalent, the images are written back into by glitching them with information gathered while researching the locations of the photographs. Navigating the Internet to find these locations is an exercise in traversing a hyperlinked set of stories, dead ends, data sets, news accounts, and testimonies. These signposts are presented below the image in an arrangement that produces a dialogue between the physical world and the datastream, past and present, banality and spectacle, filmic narratives and anonymous landscapes, amongst many other unanticipated relations. We seek to leverage these complex layers of mediation in creating a new form of image that probes our experience or non-experience of places through the proxy of the electronic image.

In collaboration with Jon Horvath.

Street Scene

Street Scene

Moonrise, Hernandez, New Mexico [Ansel Adams] (+36°3'25.55", -106°7'1.19")

Continuing in the tradition of re-photographic projects, Street Scene uses the Internet and immersive travel simulators, such as Google Street View and Bing Streetside, to virtually journey to sites where iconic images from the history of photography and cinema were created. Photography, cinema, and newer technologies like Street View share a relation as mediums that have been used as surrogates for travel and a way of augmenting lived experience. While serving a similar impulse, each platform delivers its own unique perception of reality. In choreographing a mashup of content that offers varied perspectives of a place, we overlay the iconic image with the virtual landscape and then, relying on the vernacular of the digital image, allow an intelligent computer process to determine how those two sets of information will interact and composite.

To further the dialogue between the camera’s witnessing of the physical landscape and the mediated experience of its virtual equivalent, the images are written back into by glitching them with information gathered while researching the locations of the photographs. Navigating the Internet to find these locations is an exercise in traversing a hyperlinked set of stories, dead ends, data sets, news accounts, and testimonies. These signposts are presented below the image in an arrangement that produces a dialogue between the physical world and the datastream, past and present, banality and spectacle, filmic narratives and anonymous landscapes, amongst many other unanticipated relations. We seek to leverage these complex layers of mediation in creating a new form of image that probes our experience or non-experience of places through the proxy of the electronic image.

In collaboration with Jon Horvath.

Street Scene

Street Scene

Blue Velvet (+34°14'11.54"N -77°54'59.18"W)

Continuing in the tradition of re-photographic projects, Street Scene uses the Internet and immersive travel simulators, such as Google Street View and Bing Streetside, to virtually journey to sites where iconic images from the history of photography and cinema were created. Photography, cinema, and newer technologies like Street View share a relation as mediums that have been used as surrogates for travel and a way of augmenting lived experience. While serving a similar impulse, each platform delivers its own unique perception of reality. In choreographing a mashup of content that offers varied perspectives of a place, we overlay the iconic image with the virtual landscape and then, relying on the vernacular of the digital image, allow an intelligent computer process to determine how those two sets of information will interact and composite.

To further the dialogue between the camera’s witnessing of the physical landscape and the mediated experience of its virtual equivalent, the images are written back into by glitching them with information gathered while researching the locations of the photographs. Navigating the Internet to find these locations is an exercise in traversing a hyperlinked set of stories, dead ends, data sets, news accounts, and testimonies. These signposts are presented below the image in an arrangement that produces a dialogue between the physical world and the datastream, past and present, banality and spectacle, filmic narratives and anonymous landscapes, amongst many other unanticipated relations. We seek to leverage these complex layers of mediation in creating a new form of image that probes our experience or non-experience of places through the proxy of the electronic image.

In collaboration with Jon Horvath.

Street Scene

Street Scene

Painter (Anton Raderscheidt) [August Sander] (50°94’11.87 N, 6°93’42.22 W)

Continuing in the tradition of re-photographic projects, Street Scene uses the Internet and immersive travel simulators, such as Google Street View and Bing Streetside, to virtually journey to sites where iconic images from the history of photography and cinema were created. Photography, cinema, and newer technologies like Street View share a relation as mediums that have been used as surrogates for travel and a way of augmenting lived experience. While serving a similar impulse, each platform delivers its own unique perception of reality. In choreographing a mashup of content that offers varied perspectives of a place, we overlay the iconic image with the virtual landscape and then, relying on the vernacular of the digital image, allow an intelligent computer process to determine how those two sets of information will interact and composite.

To further the dialogue between the camera’s witnessing of the physical landscape and the mediated experience of its virtual equivalent, the images are written back into by glitching them with information gathered while researching the locations of the photographs. Navigating the Internet to find these locations is an exercise in traversing a hyperlinked set of stories, dead ends, data sets, news accounts, and testimonies. These signposts are presented below the image in an arrangement that produces a dialogue between the physical world and the datastream, past and present, banality and spectacle, filmic narratives and anonymous landscapes, amongst many other unanticipated relations. We seek to leverage these complex layers of mediation in creating a new form of image that probes our experience or non-experience of places through the proxy of the electronic image.

In collaboration with Jon Horvath.

Street Scene

Street Scene

Back to the Future (34°06'21.0"N 118°08'28.5"W)

Continuing in the tradition of re-photographic projects, Street Scene uses the Internet and immersive travel simulators, such as Google Street View and Bing Streetside, to virtually journey to sites where iconic images from the history of photography and cinema were created. Photography, cinema, and newer technologies like Street View share a relation as mediums that have been used as surrogates for travel and a way of augmenting lived experience. While serving a similar impulse, each platform delivers its own unique perception of reality. In choreographing a mashup of content that offers varied perspectives of a place, we overlay the iconic image with the virtual landscape and then, relying on the vernacular of the digital image, allow an intelligent computer process to determine how those two sets of information will interact and composite.

To further the dialogue between the camera’s witnessing of the physical landscape and the mediated experience of its virtual equivalent, the images are written back into by glitching them with information gathered while researching the locations of the photographs. Navigating the Internet to find these locations is an exercise in traversing a hyperlinked set of stories, dead ends, data sets, news accounts, and testimonies. These signposts are presented below the image in an arrangement that produces a dialogue between the physical world and the datastream, past and present, banality and spectacle, filmic narratives and anonymous landscapes, amongst many other unanticipated relations. We seek to leverage these complex layers of mediation in creating a new form of image that probes our experience or non-experience of places through the proxy of the electronic image.

In collaboration with Jon Horvath.

Street Scene

Street Scene

Memento (+34°24’93.53”N -118°29’00.92”W)

Continuing in the tradition of re-photographic projects, Street Scene uses the Internet and immersive travel simulators, such as Google Street View and Bing Streetside, to virtually journey to sites where iconic images from the history of photography and cinema were created. Photography, cinema, and newer technologies like Street View share a relation as mediums that have been used as surrogates for travel and a way of augmenting lived experience. While serving a similar impulse, each platform delivers its own unique perception of reality. In choreographing a mashup of content that offers varied perspectives of a place, we overlay the iconic image with the virtual landscape and then, relying on the vernacular of the digital image, allow an intelligent computer process to determine how those two sets of information will interact and composite.

To further the dialogue between the camera’s witnessing of the physical landscape and the mediated experience of its virtual equivalent, the images are written back into by glitching them with information gathered while researching the locations of the photographs. Navigating the Internet to find these locations is an exercise in traversing a hyperlinked set of stories, dead ends, data sets, news accounts, and testimonies. These signposts are presented below the image in an arrangement that produces a dialogue between the physical world and the datastream, past and present, banality and spectacle, filmic narratives and anonymous landscapes, amongst many other unanticipated relations. We seek to leverage these complex layers of mediation in creating a new form of image that probes our experience or non-experience of places through the proxy of the electronic image.

In collaboration with Jon Horvath.

Street Scene

Street Scene

Wings of Desire (+52°30'34.33"N +13°22'33.74"W)

Continuing in the tradition of re-photographic projects, Street Scene uses the Internet and immersive travel simulators, such as Google Street View and Bing Streetside, to virtually journey to sites where iconic images from the history of photography and cinema were created. Photography, cinema, and newer technologies like Street View share a relation as mediums that have been used as surrogates for travel and a way of augmenting lived experience. While serving a similar impulse, each platform delivers its own unique perception of reality. In choreographing a mashup of content that offers varied perspectives of a place, we overlay the iconic image with the virtual landscape and then, relying on the vernacular of the digital image, allow an intelligent computer process to determine how those two sets of information will interact and composite.

To further the dialogue between the camera’s witnessing of the physical landscape and the mediated experience of its virtual equivalent, the images are written back into by glitching them with information gathered while researching the locations of the photographs. Navigating the Internet to find these locations is an exercise in traversing a hyperlinked set of stories, dead ends, data sets, news accounts, and testimonies. These signposts are presented below the image in an arrangement that produces a dialogue between the physical world and the datastream, past and present, banality and spectacle, filmic narratives and anonymous landscapes, amongst many other unanticipated relations. We seek to leverage these complex layers of mediation in creating a new form of image that probes our experience or non-experience of places through the proxy of the electronic image.

In collaboration with Jon Horvath.