A question driving in my work is how to bring social themes to the surface in tandem with how to collaborate with and manipulate a medium without dominating it. How a twist can be expansion.

I’ve considered  a wide range of themes—gender, advertising, the internet and social media, environmental, cultural, and social issues—all brought into focus by challenging a process, chance and error, conceptual groundwork, and pattern matching. This has been done primarily through the use and abuse of photography and digital media.

Working title “Indecisive Moments,” is an ongoing, eleven part project that I began in 2014 based on motion studies that generate conceptual documentation. All of these series examine how the act of looking—how we view things—has an influence on what’s being seen. It’s what physics describes as the effect of the observer on the observation. 

Each image represents a continuously changing perspective, sliced and diced as multiple moments, reassembled by the camera’s software, which also adds in auto-corrections that are typically regarded as error or glitch. I categorize, filter, and sort the output to create a visual audit of the subject. 

Recent research suggests that consciousness is a continuous sampling, that the human brain experiences the world in pulses, like the frames in a film. One’s visual understanding depends, in part, on the suspension of disbelief binding them together. The passage of time displayed in a single image, replicates this quantization. In this project, the views are punctuated by slips and slides. As photographer and critic Gerry Badger has said, “Moments are nothing, if not pliable.

@involvebias is an anagram of Vivian Selbo.

The Indecisive Moments’ series:

do you know your neighbor
Body Language
Invasive Species (Part 1) and Invasive Species (Part 2)
People Terrain (Part 1) and (Part 2)
In Plane View

In another body of work, “Sharing Everything With You,” I downsample personal photos so that the closer you look, the less you’ll see. It’s privacy in public.


In the course of figuring out what to write here, I toyed around with this seemingly ubiquitous template.

Reflecting on the relationship between ___, ___, ___, and ___, Vivian Selbo’s work asks how the ___ and visual ___, along with ___ and ___, serve as forms of both ___ and ___.

Walid Raad has a much better rendition.


The digital camera uses pixels to read photons of light which are then stored in bits and bytes.

It is also possible to create slit-scan effects outside the camera through software, e.g. Processing. Many thanks to the chrono-photography pioneered by Étienne-Jules Marey and Harold Edgerton’s work with strobes.

An iPhone’s camera has no shutter. The light sensor creates the image through pixel values lined up in rows rather than taken all at once.  If the aperture is held open while moving, as in a panorama, those rows are sliced up and reassembled. This venerable method is called a slit-scan. Such an exposure records a span of time.

Pixel is short for “picture element.”

For others mining a similar vein of glitch, it’s good to start with Golan Levin’s list An Informal Catalogue of Slit-Scan Video Artworks, and the slit-scan tag on Flikr. Also see the work of Camille Utterback, Robert Doisneau, Lee Day, Coryn KempsterTori Foster, Esmond Lee, Jules Spinatsch and video by Henning Marxen, Francois Vogel. and more.

Also possibly of interest, Slit Scan and Strip Photography Overview is a definitive research paper by Andrew Davidhazy, The Math Behind the Rolling Shutter Phenomenon and The Role of the Slit-Scan Image in Science and Art.
Let me know if you find others.

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