My professional career has always been at the intersection of art and technology. Starting in the 1970s creating art with analog video synthesizers, curating video and computer graphic technology-based art exhibitions and doing Media Arts panel work for the NEA and NYSCA. In these early days of synthesizing reality, I found It fascinating to see what different cultures were bringing to the genesis of this new art form.
In the 1980s I was producing larger media/art projects in the U.S., Australia, and Japan. In 1985 I chaired the SIGGRAPH Art Show in San Francisco which consisted of a juried art exhibition at the Moscone Center along with a frame buffer show, a hands-on computer art exhibition at SFMOMA; two installations at the Exploratorium, the production of timelapse videodisc of the entire Moscone exhibition and a student poster competition. San Francisco was filled with computer graphics art.
After launching the travelling art show to Tokyo and Madrid, I switched gears and began to embark on thirty years of experience learning about new digital technologies: computer graphics, high-speed networks; data management and how they all impact and advance the creative process.
I learned to analyze highly complex creative workflows, finding the bottlenecks, and proposing alternative approaches, translating creative requirements to engineers, and turning feeds and speeds marketing of new technology into business and creative benefits. Participating in professional organizations such as SMPTE, SIGGRAPH, HPA, CineGrid, BAVC, have been a great source of knowledge and friendships. Through all these activities, I was able to build lasting strategic partnerships and guide the development and deployment of innovative media and entertainment solutions and cloud services.
As a recent refugee from Silicon Valley, my current areas of research and consulting include AI/machine learning to accelerate image processing and visual analysis, primarily for accelerating the preservation of cultural and historic archives.