"Rozin's anthropomorphic PomPom Mirror features a synchronized array of 928 spherical faux fur puffs. Organized into a three-dimensional grid of beige and black, the sculpture is controlled by hundreds of motors that build silhouettes of viewers using computer-vision. Along its surface, figures appear as fluffy animal-like representations within the picture plane, which is made permeable by a 'push-pull' forward and backward motion of meshed 'pixels'. Ghostly traces fade and emerge, as the motorized composition hums in unified movement, seemingly alive and breathing as a body of its own."
Daniel Rozin, "PomPom Mirror", 2015, 928 faux fur pom poms, 464 motors, control electronics, video camera, custom software, microcontroller, wooden armature, 48 x 48 x 18 in / 121.9 x 121.9 x 45.7 cm
"Working with with illustrator and Art Director Katie Scott, we created an unique 15m x 3.5m animated wallpaper that slowly evolved over a 4 hour period. Created for Pernod Ricards' annual creative meeting on the private island of Embiez in the south of France and installed by Paris based Events agency Auditoire. The installation became a passive digital experience that functioned as a thought provoking backdrop to the schedule of creative speakers. Using 'Foley' artist Michael to create the audio effect and Lewis and myself to create the animation we were able to take Katie's illustration into an animated form, and her unique world became an animated experience."
"Mid- to late-20th century theories of the spectacle take little or no account of the creation of the spectacle, because they are so preoccupied with the effects of its consumption. As Dean (2010) has observed, this made sense at a time when most images were produced in a context of 'broadcast media', but offers no way to think about what she calls the 'reflexive circuit' of social media and user-generated content (pp.108-9). As Bayne (2008) points out, 'the incursions of the digital add a mutable new dimension to decades of theorising of the visible and visual in culture' (p.395). The digital positions the spectacle within circulations of power and authorship, and needs alternative perspectives through which to theorise the spectacle for spaces where people create, appropriate and consume."
(Jen Ross, p.261)
Proceedings of the 8th International Conference on Networked Learning 2012 , Edited by: Hodgson V, Jones C, de Laat M, McConnell D,. Ryberg T & Sloep P.