The Art Collider is an Open Project offering innumerable possibilities for facilitating the cross-polination of global works and the research that informs them. But we all need conversation for these ideas to germinate.

The Art Collider is a platform for connected creation of time-based art aiming toward a collaborative approach of media art creation through a system of Peer-to-Peer or Artist-to-Artist production

The Art Collider was conceived and created by Maurice Benayoun and Robin Gareus as part of the Sebastien 2 project housed at CiTU in Paris. Launched in collaborative partnership with the San Francisco Art Institute, and being joined by the Kunst Universität Linz, School of Visual Arts New York, Cornell University, and UQAM Montréal among others, the Collider is supported by the PUF (Partner University Fund) and FACE (French American Cultural Exchange) foundations.

Many Individuals who would later play their part in shaping A/S/L attended workshops facilitated by Maurice and Robin held at SFAI in November 2009. The Fall 2009 Design and Technology Salon also introduced the Art Collider alongside other ongoing possibilities for web-based, interactive art and design practices informed by and providing commentary for, the intersections of social networking principles, public art, and new media.

In April 2010, the Art Collider was revealed in its full exhibitional madness at La Bellevilloise, a central node interface of the works developed for the platform streaming in from numerous locations around the globe. Members of the A/S/L team were invited to the exhibition where The Paris Instance of the Chatroulette modification was devised and installed. The work, which also brought innumerable random individuals into La Bellevilloise, was then streamed into the Art Collider, to interact with the other works of the exhibition and to be made available for utilization by those working in the platform.

While The Project was not specifically developed for the Art Collider (though admittedly found its genesis in conversations about the structure, function, and implications of the platform), it's composition was such that it could easily interface and communicate with the system as the quasi-autonomous type of work it suggestively encourages. Additionally, the Skype conversation that linked the San Francisco installation with the opening in Paris was streamed in to the Collider, as both colluder and informant.