Michael spent the first half of his residency sliding between inputs with the digital production tools in 0429 and the second half turning pots and patching cables on the Sandin Image Processor. Conversations with Rebekkah Palov and Leslie Rollins late in the week helped Michael to see the two interfaces and their underlying process flow as different mental modes of mapping one’s intentions onto technological topologies. Framing his interactions with these interfaces in this way allowed Michael to see new paths forward within and beyond Michael’s usual work process with the equipment he had at hand.

“My intitial activity during the residency was to make audio recordings with one of my single pixel devices of two pieces of student work–the pulsing neon in Jacob Wilcox’s “Play or Get Played” and the the throbbing screens of “Sam Schulteis’s “Artificial Flesh”. This a Gieskes Scheme Mixer and rescanning the resulting image as displayed on a Dotronix CRT with multiple HD camcorders. The camcorders’ output was then mixed via the Blackmagic mixer, reunited with the original audio signal via the RME Fireface, and recorded to the Blackmagic mixing deck. From this I produced a 3-channel installation, tentatively titled “Slew?Sync:, and installed it in the Immersive Gallery.” – Michael N. Meyer

“The last two days of the residency I spent working with the Sandin Image Processor. As Rebekkah’s demonstration made apparent, two days would be far too short to become intimately familiar with the device’s full capabilities let alone master them, so I treated my engagement with the device as a form of concerted play. In this way I recorded several hours of output from the IP–both raw abstract synthesis and processed camera inputs. From the footage I expect to produce a ‘zine (printed on my Risograph machine) and a folio of prints (output method TBD).” – Michael N. Meyer

Recognizing that photographic systems skew image making towards their own ends, Michael N. Meyer stretches, tweaks and bends the fundamental functioning of photographic tools in order to examine how the design of these devices and processes create cascading cultural effects throughout social structures. His work has been exhibited internationally. In addition to his own art practice, Michael is a co-founder of the Spectacle Box collective and maintains a busy commercial photography studio. He lives and works in Brooklyn, NY.