Search Results for: tomato
“Record the world in front of you
and in the edges of what you
cannot or will not see.” – Eric Scott
Excerpt from the brief for Tomato‘s workshops:
The workshops are a way of immersing yourself suddenly and intensely into the process and conversation that goes on within tomato. Several members of tomato are there to initiate the conversation, but the workshop really happens through the interaction of everyone there. A wide range of people from around the world with diverse backgrounds come together to create work. You not only learn a great deal from everyone around you but everyone learns from you as well. They are about creativity, art, process, life, philosophy, design, and the interconnectedness of all of these things. But of course I now have to ask if these things ever were separate from each other anyway? (more) (Courtesy of TomatoWorkshops.com)
Eric Scott (Day For Night) “June, 2001 in New York City was the setting of the Tomato Workshops where I met Peter Moraites, and formed an indelible bond and friendship. Much can be said about the 5 days spent at a workshop where I arrived with no concrete expectations, and left with a head full of dreams. John Warwicker, Graham Wood and Steve Baker (of Tomato) had created a studio setting that felt (for me) like a week-long break from routine, where the client work schedule got left behind in California, and I could instead inhabit this “commune-like” environment for creativity, where sleeping and eating came second to working and making things in a creatively charged space.”
Produced for Day 1 of the Tomato Workshops NYC, June 2001.
An exercise created from my room at Hotel 17, Greenwich Village at 11:30 pm on a very rainy night in New York City. It was made using Flash and Macromedia SoundEdit; using a digital camera, handheld audio recorder and limited resources (certainly no access to internet, c’mon — it was June 2001 and I was alone in a dingy little hotel)… 🙂
Add Soundcloud file embed for installation art created in NYC during this period.
For a gallery of the Tomato Workshops site created and maintained by Ed Panar, with alumni details and photos from the events:
Peter Moraites – sketch by Patricia Dalen
Genres: Experimental / Cinematica / Illustration / Fiction / Design / Motion Graphics / Direction / Consultation
Pete Moraites began drawing pictures at the very early age of 0.9 years old, initially favoring the medium of crayon (Crayola 64-pack with built-in sharpener). Showing some promise in this area, he expanded his repertoire to include pencils, pens and even Mr. Sketch scented magic markers (Peter was easily identified at the time by his perennial polychrome mustache). It was around this time that he began to write stories as well.
Peter went to Rutgers University where he continued to write and draw things. Somewhere between the two, people began to pay him for it. Past creative endeavors include:
- Active participation in the Tomato ten-day workshops in Tokyo (2000), and the five-day workshop in New York City (2001).
- Developing motion graphics and writing/directing entertainment segments for liins, John Gray, Richard Jeni, Norman Schwarzkopf, and Larry King
- Writing, directing and editing promotional, documentary and music videos for Ecko Clothing
- Designing motion interstitials for Nickelodeon™ and writing/illustrating a serialised comic book for Nick Online™
- Developing opening titles and interstitial designs for PBS’s “New York Adventures” Peter’s cartoon work has also been featured in Backyard Monsters, a touring museum exhibit for children.
During 2001, Peter (a.k.a. Sean Annigans, a.k.a. “The White Knight of Roppongi”) migrated to the Left Coast where he continues to grow as a creator/developer of ideas, imagery, and story, frequently combining his skill and passion for conceptualization, writing, design, direction, editing, and animation. Recently, he has begun making noise as well, with increasingly occasional musical result. His collaboration with Eric Scott, under the moniker Salvador Dalek, remains one of the many unsolved mysteries of this century.
Pete Moraites releases on Day For Night
Born June 2001 as a live remix identity of Eric Scott and Pete Moraites, this moniker is the one they have used since their first association, through the collaborative projects they have created following Tomato Workshops NYC, where they first chose recording and remixing as an outlet away from other professional activities in the fields of multimedia.
Perhaps we can create a context where we pre-visualize a setting – a site where the “interactive reading is to take place — and basing the rest upon a pre-history — namely, the user’s own back-story – he or she can assimilate new fiction as an ongoing narrative thread, as related to stops on the website terrain.
Think about it: we have the ability to create a setting for interactive storytelling, which can be entirely visualised, while preserving the author’s traditional role of imposing organizational flow upon the reader or user.
Interactivity, according to new media author Andrew Bonime, is “the property of any medium to respond dynamically to user control,” or any other form of input. The key word is dynamic, which will be defined here as “producing, or involving change or action.” Therefore, the category of writing known as interactive fiction could be described as a form of “unfinished” writing, where a series of prompts to the user (formerly known as a “reader”) must read and then initiate using a cursor or mouse movement, a change — whereby the written work will react to and produce a change — (whether desirable or not can be assessed at a later date) — in either the medium, the user, or preferably both.
There is a reasoning behind this, an effort to collect the writings of Eric Scott and to make them available for both visual and literal “quotation” in the Flash introduction of the Dayfornight.com site.
First, there is the desire to create as much impact as possible with the short attention span of the user, who might never visit any deeper into the site, and could therefore leave with an otherwise incomplete vision…after all, what exactly is Day For Night?
Second, the experiential nature of surfing dayfornight.com — traveling down deserted alleyways, taking the subway alone, entering an abandoned building converted into an upstairs gallery from somehwere along a dockfront — all of these lone events might be reduced, for the sake of simplicity, to a narrative which follows a series of mouse events…
And which might ultimately produce results, similar to the ones described in Chaos theory; known as the Butterfly Effect, where the user surfs, and a series of sideline events are also triggered in a text box above the screen: “Leo is a parasite”…”Emma calls in sick…”The driver loses control of his vehicle and hits a garbage can…” What the user initiates, or triggers, is an interactive storyline — sometimes with amusing, or tragic, consequences — by a series of transparent surfing maneuvers.
For anyone else, this list could be seen as a bibliography. In my particular case, it’s the master notebook from which I have regularly pulled texts, words, ideas, and stories before quoting or illustrating. This forms part of the Day For Night catalogue, which is not a legacy, but which is an unfolding process of quotation, where the source is as much a part of the design as the presentation itself.
A collection of works like these might be seen in parallel to the working methods of ToMaTo…ie Karl Hyde’s non-linear writing style, which stems from a series of notebooks accompanying him wherever he goes. In Hyde’s case, the writings invariably take the form of direct quotation, where he claims NOT to transform the writings any further, claiming they are neither stream-of-consciousness, nor “automatic.” One further note of importance is that the Tomato writings are set in the form of directives: personal anecdote, samplings from print media, overheard sentence fragments, television…whereas Day For Night texts are about representation and juxtaposition. Ideas, when loosely joined by a narrative, form greater ideas…the objective is to create a generative sitework, where the results from user-to-user are not only compelling and consistent, but also renewed and refreshed upon each visit.
The objective is to recognize themes from within the textworks, whether or not they were created as a series or as individual pieces — also, to unify them by a format which can fully exploit the nature of interactive fiction — namely, to demonstrate that all interactive writing is incomplete — and never to be considered wholly in isolation — rather, as subject to completion only by the experience of the end-user, who will witness the texts in a (partially) interactive context.