Center for Wave Change

A slowed-down video of Ecco the Dolphin gameplay is used to create an experimental philosophical space that focuses on the phenomena of waves
Submitted by

Project Location

Chicago Illinois United States of America
Artists Involved

Project Description

In Center for Wave Change, overlapping aesthetic cues and general objectives are borrowed from both science centers and new age centers to focus on a shared interest: the phenomena of waves.

Waves are, fundamentally, an energy transport process through space and time. Waves aren’t “local” - they have specific origins, but exist simultaneously throughout space. Within the installation, light waves, sound waves, and water waves are manipulated as mediums for scientific display, relaxation, and aesthetic experience. These varied waves are reflected, diffused, refracted and diffracted by tools such as video projectors, projection screens, a video camera, mirrors, waterbeds, Final Cut Pro audio/video filters, and more.

The original source of waves for the installation is an .mp4 video file of the gamer “RickyC” beating the Sega Genesis game Ecco the Dolphin in just under 80 minutes. I have slowed down the original file to a duration of six hours, because six hours is the maximum duration for sequences with high audio data rates in Final Cut Pro. I have applied “echo” filters on both the audio and video tracks, and pushed all values within those filters to the maximum.

The installation will take place in a to-be-determined exhibition space with a rich, natural echo. Four speakers will be positioned on the ground against four circular water beds, so that visitors can literally feel the sound waves while standing or lounging. The video will be projected (via projector 1) onto the rear projection screen suspended from the ceiling in the center of the room. This will allow the image to reflect on the warped mirror panel behind projector 1 and the warped one-way mirror film on the other side of the rear projection screen. Facing the rear projection screen, on the opposite side of projector 1, will be the video camera that is hooked up via live feed to projector 2 facing projection screen 2, perpendicular to the rear projection screen. This projected image will show the “endless mirror” effect produced by the video camera capturing the image from projector 1. The video camera will also be hooked up via live feed to projector 3, which will be projecting into plexi cube of water with mirror tilting upward inside. The water inside the cube will refract projector 3’s light, and the submerged mirror will reflect a rainbow onto the ceiling.

Science + technology exhibits, new age centers for relaxation, and postmodernist appropriation are the three main reference points for this exhibition. It could be said that these three cultural forms offer us the only three alternatives to a defeated metaphysics open to us today - through scientific reductionism, the blind faith of new age spirituality, or the infinite relativism of postmodern indetermination. However, this project is indifferent to all these alternatives, and instead embraces the experimental metaphysics of philosophers such as Karen Barad and Alfred North Whitehead. The Center for Wave Change will be a site for the expansion of action, possibilities, perspectives, and thought. Its complexity will develop as I learn more about waves and make artistic decisions based on that knowledge.
Project Timeline and Budget

$2000 - Mirror panels, plexi, and one-way mirror film
$500 - Projection screens
$1000 - 4 round waterbed mattresses
$1000 - Travel and shipping costs
$500 - Miscellaneous hardware and production materials

$5000 total

*Speakers and projectors will be provided by the exhibition venue, or purchased from Wal Mart and then returned at the end of the exhibition. The video camera will be provided by the artist.

Summer 2012 : Planning and research
Summer 2012 - Spring 2013 : Promotion of project, securing of exhibition venue, materials acquisition
Spring 2013 : Installation and final exhibition
About the Artist(s) Involved


School of the Art Institute of Chicago
Master of Fine Arts in Sculpture 2011

Syracuse University, Newhouse School of Communications
Bachelors of Science in Television, Radio and Film, minor in Fine Arts 2006


2013 – threewalls, TBA (forthcoming) – Chicago, IL
2012 - American Medium, TBA (forthcoming) - New York, NY
2012 – Document, ScanOps (forthcoming) – Chicago, IL
2012 – Art Metropole, ScanOps – Toronto, Ontario
2012 – Reed College, Workers Leaving the Googleplex/ScanOps – Portland, OR
2011 – New Capital, Gomez/Wilson: Windows & Mirrors – Chicago, IL
2011 – Nightingale Theater, Quicktime Playback Demo & Networking Session – Chicago, IL
2011 – Appendix Space – Portland, OR
2011 – LG Space, Workers Leaving the Googleplex – Chicago, IL
2011 – Extra Extra Gallery, Virtual Assistance – Philadelphia, PA


2012 – Museum of Contemporary Art Zagreb, Video Vortex – Zabgreb, Croatia (forthcoming)
2012 – Images Festival – Toronto, Canada
2012 – San Francisco International Film Festival – San Francisco, CA
2012 – Dependent Art Fair, The Comfort Inn – NY, NY
2012 – Museum of Contemporary Photography, Speechless – Chicago, IL
2012 – STUK Arts Centre, Artefact Festival – Lueven, Belgium
2012 – Cornell Cinema at Cornell University, Lumière and After – Ithaca, NY
2012 – Walters Art Museum, Peer One – Baltimore, MD
2012 – Givon Gallery, Net Video, Black Box – Tel Aviv, Israel
2011 – San Francisco Cinematheque, Lumière and After – San Francisco, CA
2011 – Museum of Contemporary Art Chicago, BYOB Chicago – Chicago, IL
2011 – Appendix Space at 937/Fourteen30 Contemporary, Target Language – Portland, Oregon
2011 – Art Metropole, Art Metropole welcomes The Coming Envelope and Le Merle – Toronto, Ontario
2011 – DUMBO Arts Center, video_dumbo – Brooklyn, NY
2011 – ATA Film & Video Festival – San Francisco, CA
2011 – ARTifact Gallery at UC San Diego, Y53K – La Jolla, CA
2011 – Eastern Bloc Centre for New Media and Interdisciplinary Art, Ethnographic Terminalia – Montreal, Quebec
2011 – Contemporary Arts Center Cincinnati, BYOB Cincinnati – Cincinnati, Ohio
2011 – Kassel Documentary Film & Video Festival – Kassel, Germany
2011 – BLACK HOLES, Preteen Gallery at Encuentro Internacional de Medellín, Medellín, Colombia
2011 – Wabash Galleries at the School of the Art Institute of Chicago, MFA Thesis Exhibition – Chicago, IL
2011 – Get Friday Office, Virtual Assistance – Video Task – Bangalore, India
2011 – Sullivan Galleries at the School of the Art Institute of Chicago, Virtual Assistance – Chicago, IL
2011 – Directors Lounge 2011, Urban Research on Film – Berlin, Germany
2010 – University of California Los Angeles, Festival of (In)appropriation – Los Angeles, CA
2010 – Yaffo 23, Correspondences – Jerusalem, Israel
2010 – Boomerang Space, Construction Site: Identity Made Material – Chicago, IL
2010 – Cable Car Cinema, Pixilerations Festival – Providence, RI
2010 – Heaven Gallery, Waveforms – Chicago, IL
2010 – Wirksworth Festival, Artist Film and Video Salon – Wirksworth, Derbyshire, England
2010 – Arcade Gallery at Columbia College – Post-Human // Future Tense – Chicago, IL
2010 – LVL3 Gallery, Talk Video To Me – Chicago, IL
2010 – Heaven Gallery, Uncommon Territories – Chicago, IL
2010 – Big M, Abandon Normal Devices Festival – Preston, England
2010 – Northern Illinois University, Searching For Satellites – Dekalb, IL
2010 – Krowswork Gallery, Mirror Made Me – Oakland, CA
2010 – Arthouse Film and Video Festival, University of Southern Florida – Tampa, FL
2009 – Sullivan Galleries at the School of the Art Institute of Chicago, Learning Modern – Chicago, IL
2009 – University of Texas, San Antonio, New Media Symposium – San Antonio, TX
2009 – Iowa City International Documentary Festival, Best Science Filmmaking Award – Iowa City, IA
2009 – Casoria Contemporary Art Museum, Magmart International Video Art Festival – Naples, Italy
2009 – Echo Park Film Center, New Experimental Filmmakers – Los Angeles, CA
2009 – Courier Center at the Putney School, Faculty Exhibition – Putney, VT
2008 – UC San Diego, SOMETHING is HAPPENING symposium – La Jolla, CA
2008 – DUMBO Art Under the Bridge Festival – Brooklyn, NY
2008 – DeYoung Museum, A Night of Bent Arts and Culture – San Francisco, CA
2008 – Chicago Underground Film Festival – Chicago, IL
2008 – Show Cave, Future Heat – Los Angeles, CA
2008 – Other Cinema, Psychogeography Show – San Francisco, CA
2008 – HUM at Project Artaud gallery – San Francisco, CA
2008 – Artists’ Television Access, window installation – San Francisco, CA
2008 – OCULI: an experimental film showcase – Wilmington, NC
2008 – Bearded Child Film Festival – Minneapolis and Grand Rapids, MN
2008 – Other Cinema, New Experimental Works – San Francisco, CA
2007 – Alternatives of Alternatives, presented by Arthur Magazine and Saturnalia – San Francisco, CA
2007 – Mission Creek Music and Film Festival – San Francisco, CA


2009 – “Three Films by Mario Pfeifer” – Recent film works by Berlin-based artist Mario Pfeifer
2009 – Juror for 2009 Artists’ Television Access Film and Video Festival
2008 – “Green City” event for Craig Baldwin’s Other Cinema – Video, performance, and demonstrations by Natalie Jeremijenko, Melinda Stone and Maya Donelson
2008 – “Los Ultimos Zapatistas, Heroes Olvidados”, Global Undergrounds Series – Documentary screening collaboration with Carlos’ Club, Workers International League, and Artist’s Television Access
2008 – “What Would It Mean to Win”, Global Undergrounds Series – videos by Oliver Ressler in preparation for the No G8 demonstrations in Japan
2008 – “Videos by Guy Ben-Ner”, Global Undergrounds Series – Presentation of Ben-Ner’s video work from Postmasters Gallery, NYC
2008 – “Video Resistance – Works by Oliver Ressler”, Global Undergrounds Series – Two nights of works by Oliver Ressler, with speakers from the Berkeley Art Museum and Hands Off Venezuela
2008 – Co-initiated the “Global Undergrounds” series at Artists’ Television Access, a film and video series that fosters awareness and appreciation of the issues and aesthetics of our global diversity
2008 – Juror for 2008 Artists’ Television Access Film and Video Festival
2007 – “Alternatives of Alternatives”, co-presented by Arthur Magazine and Saturnalia NYC, with visiting filmmakers Ira Cohen and Marty Topp
2007 – Juror for 2007 Artists’ Television Access Film and Video Festival


2012 - Google User Meeting - Art Metropole - Toronto, Ontario
2012 – Reed Arts Week – Reed College – Portland, OR
2012 – Nicholas O’Brien’s Digital Art Course – University of Colorado Boulder
2011 – Verbindingen/Jonctions 13 – Brussells, Belgium
2011 – Virtual Assistance Meeting – Hyperallergic Headquarters – Brooklyn, NY
2011 – Open Engagement Conference – Portland State University – Portland, OR
2011 – Double Feature Lecture with Nick Bastis – Mess Hall – Chicago, IL
2011 – Daniel Quiles’ Global Conceptualisms Course – School of the Art Institute of Chicago
2011 – Virtual Assistance Meeting – Extra Extra – Philadelphia, PA
2010 – InCUBATE Public Culture Lecture Series – threewalls Gallery – Chicago, IL
2010 – Virtual Assistance Meeting – Sullivan Galleries – Chicago, IL
2010 – Interactive Screen 1.0 Beautiful Lives – Banff Center – Alberta, Canada
2010 – Dan Price’s Concepts/Materials/Processes Course – School of the Art Institute of Chicago
2010 – Noontime Lecture Series – School of the Art Institute of Chicago
2009 – Liisa Robert’s Graduate Media Seminar – Academy of Fine Arts Finland
2009 – Judith Brotman’s Residential College Class – School of the Art Institute of Chicago


2012 – Headlands Center for the Arts Artist in Residence (forthcoming)
2012 – Illinois Arts Council Artist Project grant
2011 – Dedalus Foundation Master of Fine Arts Fellowship
2011 – Edward Ryerson Fellowship
2010 – Interactive Screen 1.0 Scholarship Intensive, Banff Center – Banff, Canada
2010 – TINT Arts Lab Virtual Residency – UK
2009 – Project grant for “Project” – School of the Art Institute of Chicago Department of Exhibitions
2009 – Iowa City International Documentary Festival, Best Science Filmmaking Award – Iowa City, IA
2008 – 2009 – Resident at Artists’ Television Access – San Francisco, CA
2008 – Winner of San Francisco Bay Guardian Video Art Contest – San Francisco, CA


Andrew Norman Wilson. "ScanOps" (forthcoming book to be published with Art Metropole)
Martin Bryant. “Google Books Scanning Errors Turned Into Works of Art” The Next Web, 3/18/12 (Feature)
David G. Ortiz. “Este joven transforma en arte los errores de escaneo en Google Books”, 3/18/12 (Feature)
Paul Estrada. “Errores de escaneo en Google Books se convierten en exposición fotográfica” Fayer Wayer. 3/18/12 (Feature)
Robert Kędzierski, “Google przenosi książki do Internetu – artysta widzi w tym dzieło sztuki” Technologie. 3/23/12 (Feature),104530,11394624,Google_przenosi_ksiazki_do_Internetu___artysta_widzi.html
Andrew Rosinski. “ScanOps And Workers Leaving the Googleplex” DINCA, 2/28/11 (Feature)
Courtney R. Thompson. “The Economies of Transparency” ArtSlant, 11/22/2011 (Review)
Dijana Kadić. “Andrew Norman Wilson: Pushing the Buttons of Corporate America” f Newsmagazine, 11/22/2011 (Feature)
Andrew Norman Wilson. “Out-Of-The-Box Task Ideas” Get Friday blog, 11/21/2011 (Feature)
Jeremiah Barber. “Camp and Ambiance at ATA’s Film and Video Fest” KQED Arts, 10/18/2011 (Review)
James H. Miller. “Notes From the Indie Underground” San Francisco Bay Guardian, 10/19/2011 (Review) –
Andrew Norman Wilson. "“How To Create A Color-Coordinated Site of Relaxation and Bodily Engagement in a Large Scale Exhibition, Airport, Hotel, Mall, Bank, Spa, or Biennial” art:21 blog, 9/14/11 (Feature) –
Andrew Norman Wilson. “Why is the No Video Signal Blue?” Pool, August 2011 (Feature) –
Veken Gueyikian. “Join Us on Wed Aug 17 to Discuss Outsourcing Art” Hyperallergic, 7/10/11 (Feature) –
Nicholas O’Brien. “Networking with Andrew Norman Wilson” Bad At Sports, 7/28/11 (Feature) –
Kimberly Brooks. “School Of The Art Institute Of Chicago 2011 MFA Sculpture Grads” Huffington Post, 6/17/11 (Feature) –
Reyhan Harmaci. “Artist Reveals Google’s Caste System” The Bay Citizen, 5/10/11 (Feature) –
Xavier de la Porte. “Travailleurs quittant le complexe Google” internet ACTU, 5/9/11 (Feature) –
Pascal-Emmanuel Gobry. “At Google, Talking to Coworkers Can Get You Fired” Business Insider, 4/30/11 (Feature) –
Brian Barrett. “Google’s Secret Class System” Gizmodo, 4/30/11 (Feature) –
Wetter. “Tag der Arbeit: Googles View-Klassen-Gesellschaft” Netzpolitik, 5/1/2011 (Feature) –
Barry Schwartz “Does Google Have a Class System for Googlers?” Search Engine Land, 5/2/11 (Feature) –
Gregg Dourgarian “The Secret Story of Google’s Contingent Workers” Staffing Talk, 4/30/11 (Feature) –
Andrew Norman Wilson. “The Virtual Assistance Project” Get Friday blog, April 1, 2011 (feature) –
Sunder P. “Pushing the Frontiers of Exploration” Get Friday blog, April 1, 2011 (feature) –
Matthew Newton. “A Tale of Two Googles: Race, Labor, and Hierarchy in the Digital Age” Thought Catalog, March 17, 2011 (Feature)
Andrew Norman Wilson. “Virtual Assistance” Media Fields Journal, Issue 2 (Interview) –
Roberta Fallon. “Virtual Assistance’ Humanizes Outsourcing” Philadelphia Weekly, January 19, 2011 (Review) –
“Beyond Virtual Contact” Newsworks, January 6, 2011 (Review) –
Alison Feldish + Nicole Wilson. Funnel Pages, January 15, 2011 (Review) –
Holly Otterbein. “First Friday Focus” Philadelphia City Paper, January 5, 2011 (Preview) –
Jordan Tate. i like this art, December 10, 2011 (Feature) –
Andrew Norman Wilson. “Virtual Assistance – My Thoughts” Post-Human // Future Tense Essays (Feature)
Andrew Norman Wilson. “Virtual Assistance” rubric journal, summer 2010 (Feature)
DeWitt Cheng. “Mirror Made Me” East Bay Express, March 3, 2010 (Review)
Andrew Norman Wilson. “Urban Farming, a Bit Closer to the Sun” New York Times, June 16, 2009 (Photo)
Andrew Norman Wilson. “Virtual Assistant Project” Otherzine, Spring 2009 (Feature)
Andrew Norman Wilson. “The Obscene Excesses of Capitalism” Otherzine, Fall 2008 (Feature)
Andy Ritchie. “HUM” Artslant, July 27, 2008 (Review)
Andrew Norman Wilson. “Emergency : The Living Theater” Arthur Magazine, August 2007 (Review)
Amy Glasenapp. “Alternatives of Alternatives” San Francisco Bay Guardian, November 7, 2007 (Review)
Artist(s) Work Samples


Why is the No Video Signal Blue? Or, Color is No Longer Separable From Form, and the Collective Joins the Brightness Confound. ~ A Guided Meditation ~

The video starts by asking why the “no video” signal is blue. At first it presents a futile attempt to deconstruct the meaning of the color blue, then reaches beyond standard rhetorical and semiotic models through the philosophy of Brian Massumi, William James, and Ludwig Wittgenstein, interactions with Sony customer support, and the compositions of Walter de Maria and Alice DeeJay.

I expanded the project into an installation at the gallery New Capital in Chicago’s East Garfield Park, using the location, production documents, and presentation technologies as material for reflection – reflection of no video signal blue, and reflection of the viewer.




For a large scale exhibition at the School of the Art Institute of Chicago I created a color coordinated airport/hotel/mall/bank/spa/biennial lounge to offer a site of bodily engagement in an exhibition dominated by isolated, sellable art objects. All lounge products were purchased through online transactions from Target and Walmart, and were returned at the end of the exhibition. My dystopic science fiction news video Global Countdown played on a 55” flat panel monitor.

On opening night, visitors to FlowSpot could register for massages from licensed massage therapists. While participants received massages they could not see anything and listened to my directors commentary of the Global Countdown video. The commentary consists of very basic visual descriptions, with the goal being that the person receiving the massage can visualize the video in their minds.


Workers Leaving the Googleplex

Workers Leaving the Googleplex investigates a top secret, marginalized class of workers at Google’s international corporate headquarters in Silicon Valley. As I documented the yellow badged “ScanOps” Google Books workers, I simultaneously chronicled the complex events surrounding my own dismissal from the company. The reference to the Lumiere Brother’s 1895 film Workers Leaving the Factory situates the video within the history of motion pictures, suggesting both transformations and continuities in arrangements of labor, capital, media, and information.


Eccos is a six hour meditation video based on a manipulated video of Ecco the Dolphin game-play.

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