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interactive titles : a series of artists exhibitions for diskette were initiated in November 1993 with the release of Sammy Cucher, Cultures: From the Annotated Self, digital images which explore the conflict of creativity and reason inside the body and the relationship between art and science - through the lens of the HIV crisis. Second in the series, George LeGrady, [the clearing] in 1994, an interactive computer artwork that explores the construction of meaning through the language of the Western news representation of the Bosnian conflict.

Cultures: From the Annotated Self

by Sammy Cucher

These images are from "The Annotated Self," a project that includes three separate photographic series dealing with issues of consciousness, psychological identity and memory. The source for the images in the "Cultures" series are photographs of doodles drawn on the margins of notebooks, day planners, post-its and scattered notepads. Drawn mostly while on the phone and without any artistic intention, they constitute a sort of automatic writing. The doodles are distilled from an unconscious creative urge which, as I see it, is linked to the basic biological process that enables the evolution of life. -Sammy Cucher

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[ the clearing ]
by George Legrady

An interactive computer artwork that explores the construction of meaning through the language of the Western news representation of the Bosnian conflict. With the assistance of the mouse, viewers explore the surface of a moving hunting photograph to scan a range of topics on Bosnia. They can choose 30 categories to examine news quotes set against the photograph. Different points of view are identified through color coding: the Bosnian Muslims, the Serbs and outside news commentaries. The viewer's experience of information search through this computer program interface is designed to reveal the traces of vision technologies' origins in military and medical applications - a particular kind of seeing that can be described as "search and destroy" or "hold still while I examine." By situating the Bosnian conflict into the familiar game format, real world content is introduced into a form generally not known for its criticality. This allows for a creative exploration of alternative ways in which information can be disseminated and retrieved from databases.

-----Press Release Sept. 1994 -

[the clearing] is an interactive computer artwork that explores the construction of cultural meaning through the language of the technologicallly mediated Western news' representation of the conflict in Bosnia.

with the assisstance of the mouse, viewers explore the surface of a moving hunting photograph. By this action, the viewer scans a range of topics on Bosnia and can choose any of 30 categories to examine news quotes set against the photograph. Three separate points of view are given. The Bosnian Muslims' , the Serbs' and outside news commentaries.

The viewer's experience of information search through this computer program interface is designed to reveal the traces of vision technologies' origins in military and medical applications - a particular kind of seeing that can be described as "search and destroy" or " hold still while I examine" .

Keywords: world event, sub-text, Balkan, dissemination, information, ethnic genocide, Western interests, media industry, Muslim, frame of reference, Europe, historical memory, narratives in context.

https://www.mat.ucsb.edu/~g.legrady/glWeb/Projects/clearing/clearing.html

Brookside Assembly 2020-25

Stone - Tool - Artifact - Assemblage
 Obsidian, Chert, Basalt, Jasper, Pyrite, Calcite, Kryptonite, Oxide Composit

Dating: Paleo-Indian and Archaic 20,000-AD500 or 400-100 years BP Mesolithic / Paleolithic Periods

Since the first obsidian artifact surfaced in 2020, this collection has grown over the course of five years to approximately 600 individual stone tools and tool fragments. Most pieces display deliberate knapping, edge-shaping, or use-wear, though their specific functions remain uncertain. However, the long history of Miwok and Pomo habitation in this region provides an important cultural framework for interpreting the assemblage. Both groups produced a wide range of stone implements scrapers, knives, awls, and cutting tools—used extensively in the preparation of plant materials for basketry. Given the central role of sedge, willow, redbud, and other fibers in Miwok and Pomo daily life, stone tools were essential for harvesting roots and shoots, trimming and splitting fibers, and shaping the components of burden baskets, storage vessels, and finely woven ceremonial forms. The diversity of tool morphologies within the collection, ranging from finely pressure flaked obsidian edges to more robust chert and basalt scrapers corresponds closely with known techniques of local stone tool production and the utilitarian requirements of basketry, gathering, and domestic tasks. As a result, the assemblage not only reflects prolonged human activity at the site but also aligns with the technological traditions documented among the region’s Indigenous communities.