Barbara Lattanzi's films, videos, Internet art, and generative software works have been screened and exhibited widely, including venues such as the Ann Arbor Film Festival, Harvestworks-NYC, the European Media Art Festival, The New Museum, Microscope Gallery (Brooklyn), Squeaky Wheel-Buffalo, FILE Festival-Sao Paulo Brazil, Albright-Knox Art Gallery, and Museum of Modern Art. Her experimental software, "C-SPAN Karaoke", received an Honorary Mention at Transmediale, the Berlin-based international media art festival. Her early "net art" work is represented in Rhizome.org "Artbase" collection, Turbulence.org, Computer Fine Arts collection, the Moscow on-line software archive "Runme.org", and a gatepage for the "Artport" website of the Whitney Museum of American Art. Writings about Lattanzi's work have appeared in Millenium Film Journal, Neural magazine, Cinema Video Internet: Tecnologie e avanguardia in Italia dal Futurismo alla Net.artedited by Cosetta Saba, and Internet Art by Rachel Greene, among others. She has received grants for her work from the New York State Council on the Arts, the New York Foundation for the Arts, and the Experimental Television Center.
As a media artist, software designer and coder, my practice has focused on the construction and exhibition of what I call "idiomorphic software". This is a term that I apply to my algorithmic translations of cinematic forms. For example, my software application, "Unwriting", is a performance instrument for remixing and remediating older works of cinema (whether canonical or forgotten), in order to seek out new cultural relevance hidden in their time structures and representations. My more recent work has engaged generative and "reverse-generative" approaches to computation. For example, in works such as "Optical De-dramatization Engine", the visual imagery exposes dense sedimentary layers of rich visual artifacts that result from the material degeneration of "copies of copies of copies..." of old films and videos over the decades. Most recently, in works such as "Voyage of the EmpreSS of RuSSia" and "Phalanx of Olives", I am producing digital videos and animations using generative algorithmic techniques that seek out the idiosyncratic, the strange - and the eerily familiar - in mathematical spaces.