Adam Herst is a Toronto-based artist and arts manager, Linux system administrator, and technical writer. He is interested in the tension between ideas, their ownership, and their reproduction, and in exploring the proposition that ideas which are designed for dissemination will be disseminated. When Adam isn't creating art, he helps arts organizations and other non-profits make the most of their investments in technology.

(All works created by Adam Herst are licensed under a Creative Commons Attribution 2.5 Canada License.)

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Work in Progress

Compositions After Calder

Click on the image to run the sketch.

Solving Sol: Wall Drawing 462

Click on the image to run the sketch. Rotate the room with the scroll wheel. Refresh the page for a new room.

But for a long time, our static media, whether carvings in stone, ink on paper, or dye on celluloid, have strongly resisted the evolutionary impulse, exalting as a consequence the author's ability to determine the finished product. But, as in an oral tradition, digitized information has no "final cut."

After all, if your program can’t do anything more than what you could do quicker, better, or more creatively with a physical object, why bother using a computer at all.

When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic — here on Sixth Avenue, for instance — I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound...I don't need sound to talk to me.

When we are involved in creative play, we are making something, but the point is not the something, but the making.