A site-specific artwork that auto-generates narrative films based upon data collected from Facebook users.

The Technology Law Society at the University of Washington School of Law will host a panel discussion focused on surveillance art (the use of technology to record human behavior that provides commentary on the process of surveillance) and rights of the artist and public on Thursday, January 28 from 12:30 – 1:20 p.m. in William H. Gates Hall Room 127.

… turning traditional methods of filmmaking upside down, Coupe takes an algorithmic approach to cinema and, in doing so, transforms reality into narrative.

A series of video works-in-progress as part of a residency at Lanternhouse, Ulverston from September 9 – 19, 2009.

From July 4th – September 26th, James Coupe will be artist-in-residence at Lanternhouse International in Ulverston, UK.

“Mechatronic Art: Beyond Craft-Fetishism”: 11 AM, August 28th, 2009, Waterfront Hall, Belfast. Part of the ISEA Conference.

The Creative Capital Foundation in New York selected Surveillance Suite as one of 41 projects, from 2068 entries, that will receive up to $50,000 of funding.

James Coupe has been awarded one of three Artist Trust fellowships in Emerging and Cross-disciplinary Art, from a total of 450 applications. The award recognizes an artist’s creative excellence and accomplishment, professional achievement and continuing dedication to their artistic discipline.

Don’t You F#{%ING Look At Me! Surveillance in the 21st Century

Public artwork that automatically generated films using “cinematic moments” captured from custom built cameras distributed throughout a city.

Four computers search the Internet for meaning, via email accounts set up to attract large quantities of spam.

9 galleries were networked together, each monitored via sensors. Any changes in one gallery would lead the other eight to adapt their environment to match, using a variety of environmental actuators.

A telephone call centre, installed inside the Storey Institute, Lancaster UK. The system autonomously adapts itself to human activities inside the building.

Two galleries were networked together: one containing four robots, one containing live video links to the robots’ onboard cameras, and an interface to control them. Viewers could take control of a robot and try to affect their social environment.

An installation that asked visitors to send it a cellphone text message. Every 10 minutes the messages were redistributed around the network of people connected to it, activating a shared virtual space occupied by everyone who had ever interacted with it.

Using autonomous self-organizing software processes, the installation took full control of a building’s electricity system.