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I was six years old when I watched 2001: A Space Odyssey. It was amazing. I understood HAL.
Ten years later I attended Snider, one of five 1970s-technologically progressive Ft Wayne Indiana High Schools with an installed network of video and printer terminals for students. Within months I had begun writing multiple-player terminal games using file lock techniques.
Fast Forward to 1983. The computer game industry was emerging from "the garage," and a young upstart company asked "Can a Computer Make You Cry". Like many, I signed a submission agreement for my Apple /// work EOS: Earth Orbit Stations. An excited phone call from a producer and I signed Contract #45 seven months later with Electronic Arts.
During the EA Days, I was fortunate to design, code, and release three original computer games for the Apple II, Commodore 64, and IBM PC. EOS: Earth Orbit Stations was a building game themed on America's Space Program. Sentinel Worlds : Future Magic and Hard Nova were significant contributions to science fiction role-play gaming. But I most remember the immersive innovation from an incredibly creative culture.
In the following years, I started a game studio with my original Producer, Joe Ybarra; we created Spellcraft: Aspects of Valor and the Sierra Network multiplayer role-play Shadows of Yserbius. I partnered with SImCity's AJ Redmer and Maniac Mansion's Gary Winnick to create the amazing Orbital Studios developing such groundbreaking games as Forced Alliance and AOL Schwa games.. And I rounded out my principal work in the late 90s by developing Sesame Street Sports video games with Sony and David Warhol's Realtime Associates.
From then, short projects with Walt Disney Parks and Resorts; and HBO Mobile kept me in the game. Entertainment technology remains a key part of my life as I remain developing revolutionary software in Las Vegas.
Some would wonder how technology could fit into art. I see software development as a craft - procedural art much like choreography. It is built with small pieces, and there is an aesthetic that makes it beautiful.
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My warmest thank-you for your purchase! But sometimes it does not work out. If your print needs to be returned, please notify me within fourteen (14) days. Please use the original packing material and ship the product to my Las Vegas address. On receipt of the returned package, I can offer a full refund of your original order. Accepting Deliveries -- When receiving packages from the carrier, please inspect the shipping box for signs of damage before accepting. Read the special notes on the box to help file any shipping claims. Third-Party Framers -- For loose unmounted prints, we are not responsible for damage to the print caused by a third-party framer.
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We print on LexJet and Hahnemuhle archival papers using Large Format Canon iPF printers using Lucia Ex pigment Inks. Canon LUCIA EX pigment inks achieve an "under glass" permanence of 95 years for color images.
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