Robert Edgar creates and employs software engines to examine mediated artifacts forged at his zone of proximal development. Robert’s computer-based art engines include Simultaneous Opposites (2008 – present), The Duchamp Examinations (2006), Memory Theatre Two (2003), Sand, or How Computers Imagine Truth in Cinema (1994), Living Cinema (1988), and Memory Theatre One (1985). Robert holds an MFA from Syracuse University’s College of Visual and Performing Arts. He grew up in Cocoa Beach, Florida during the birth of the NASA Space Program (1958-1970). Robert is Sr. Instructional Designer at Stanford University.
- Simultaneous Opposites # 52: Tone Rose 6' 47''
Simultaneous Opposites # 52: Tone RoseProduction: 2011
Tone Rose is an example of serial composition applied to not only audio tones, but also cinematic shots. It was created using my Simultaneous Opposites engine: a program for traversing previously captured video footage in real time, navigating by use of a MIDI guitar, computer pointing device, and software algorithm.
I like the way Tone Rose delicately sets up your expectation, then let’s you fill in the silences. This is how we learn empathy, and you can feel it happen as you experience the piece.
- Simultaneous Opposites #60: Breathing for Metaphors 6' 18''
Simultaneous Opposites #60: Breathing for MetaphorsProduction: 2011
Generating this piece was a way to refocus on my breathing, and the breathing of the Simultaneous Opposites Engine. This breathing, the duration and physicality of which is itself a focus of this video, is also of course a metaphor, one that is accepted through our implicit empathy for all objects. In an inversion: these metaphors are the intentions of Man, they are how we understand the meaning of the world, and how we know “what it’s like outside”. What is Metta for?