MOMA ANNEX
QUEENS, NY

Based on an ideology of media and the individual, the Annex bombards the inhabitants with video representations of their re-assembled personal identities. The Content of the Annex becomes the diversified video representations of re-assembled identities. The Annex creates an interaction between the individuals & the media art through the disassembly and re-assembly of information. The information of personal identities gets disassembled, re-assembled, & projected back to the inhabitants.

Video Art dependant upon pattern recognition of individual experiences, changes the experience of the user by accessing a database of both mechanical and visual data at a computational level, and re-assembles the information. The disassembly of the mechanical and visual databases gets re-assembled with other individuals' unique identifiers. The re-assembled information merges the different individuals, but diversifies the actual information that is received. Since the database of mechanical and visual information are constantly changing and updating, the patterns of computations merge into other databases of different individuals.

The typical museum presents the information flow in a one way system. The "white box" contains and shelters the works of art for display to the public. The interaction is limited to the distance that you can get to the works themselves. The art doesn't respond to the individual. In the Museum for Modern Art, only what is considered "modern" is represented. The actual works of art are displayed under certain restraints like temperature, humidity, lighting, and safe viewing distances. The identity of the Art or the individual is un-affected or un-altered. The information is kept in its original form and does not pass or get transmitted to other individuals. This was a design project by Brooks Atwood while at Columbia University GSAPP in 2003.