Perry Hoberman | |
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| Born | 1954[1] |
| Years active | 1983 to present |
| Known for | New Media Art |
Perry Hoberman (born 1954), is an installation artist who has worked extensively with machines and media. His career has included stints with Laurie Anderson and the USC Interactive Media Division.[2]
He has taught at the Cooper Union School of Art, the San Francisco Art Institute, and the graduate Computer Art Department in the school of Visual Arts in New York. He is currently an Associate Research Professor in the Interactive Media Division at the University of Southern California School of Cinema-Television, as well as a visiting artist at the California Institute of the Arts.
His work is included in collection of the Museum of Modern Art, New York.[3]
Hoberman started at the Pennsylvania Academy of Art in Philadelphia in 1972, and earned his bachelor's degree from Bennington College in Bennington, Vermont (1974–77). In 1978, he participated in an independent study program at Whitney Museum in New York.[4]
Hoberman's work focuses on the interactive nature of people and technology. Bar Code Hotel and Systems Maintenance are two exhibitions that demonstrate this aspect.
Bar Code Hotel recycles the ubiquitous symbols found on every consumer product to create a multi-user interface to an unruly virtual environment. The installation makes use of a number of strategies to create a casual, social, multi-person interface. The public simultaneously influences and interacts with computer-generated objects in an oversized three-dimensional projection, scanning and transmitting printed bar code information instantaneously into the computer system. The objects, each corresponding to a different user, exist as semi-autonomous agents that are only partially under the control of their human collaborators.
Systems Maintenance consists of three versions of a furnished room. An ensemble of life-sized furniture occupies a large circular platform on the floor, a virtual room is displayed on a computer monitor, and a 1/8 size physical scale model of the room is presented on a small pedestal. Each version is imaged by a camera (either video or virtual), and the three resulting images are combined into a single large-scale video projection. The camera position, height, angle and field of view are matched between the three cameras. By moving the furniture and camera viewpoints for each of the three rooms, visitors can match or mismatch the components of each of the rooms as they appear in the projected image.
