the liker

Archival Art - Arnold Dreyblatt

2011-11-03T05:34:00.000-07:00

The text based/ archival work of Arnold Dreyblatt deals with history, the archive, memory and turns text into image.

Works are often made up of large historical archives and projected on various surfaces - some transparent, some reflective mirrors, stacked in sculptural formation, or printed and mounted in painterly, landscapes. Text really turns into a visual landscape, sculpture or film which provides a double reading on the actual content of the text itself. This allows for layers of meaning to be perceived and reflected upon. As landscape the work is already striking - the font sizes are grotesque or diminished, speaking in a minimalist modernist language of surface tension and material. In more temporal projections, words appear and disappear sometimes out of reach, deliberately not allowing the viewer to grasp a full sentence.
Sometimes a feeling of history looking back at you the viewer, from its archives, being trapped in the confines of these mute letters. In sculptures of text, where one would for example find 4 layers of transparent plexi-glass with words printed on them, the eye provide the temporal layer - as one fall down these dimensions of text random connections between words are made. The overwhelming amount of words wanting attention and recognition can send the retina in a mad dizzying marathon focusing and falling between these words, names, dates, records of moments and things in history.
A few of the works also cross over into the architectural domain as a result of its sheer size and full wall to floor to ceiling submersing scale - forcing the body to be in direct contact with the work. The body in contact with context.

Recovery Rotation

rotating stroboscopic text machine, 2003

(photo from Dreyblatt website)

The Great Archive

wooden boxes, inscribed plexiglass, illumination, 1993

http://www.dreyblatt.de/pages/arts.php?seite=11

Frank Moore - art of a shaman

2011-10-13T17:55:00.000-07:00

http://www.eroplay.com/Cave/shaman.html

Casey Reas

2011-10-13T17:34:00.000-07:00

http://reas.com/blog/

Heartbeat and Orchestra

2011-06-20T14:41:00.001-07:00

Derivative Touch Designer - what a treasure

2011-06-20T12:54:00.000-07:00

Alexander Kluge

2011-01-18T13:30:00.000-08:00

Property-owning Middle Class

Writer, theorist, filmmaker, and television pioneer, Alexander Kluge is one of the intellectual giants of post-war Germany. Despite the scope of his achievements, his reputation in the United States rests largely on his contribution to the Oberhausen Manifesto, one of film history's seminal documents. In 1962, at the Oberhausen Film Festival, a group of twenty-six filmmakers, including future luminaries Wim Wenders, Werner Herzog, and Rainer Werner Fassbinder, signed a well-publicized declaration that "the old film is dead, we believe in the new," thereby kicking off the cinematic Golden Age now known as Das Neue Kino: "the New German Cinema."

Kluge is often seen as the group's intellectual father figure. Slightly older than the others, he had already trained as a lawyer and worked as an assistant to Fritz Lang. Perhaps more importantly, Kluge was the artist among them whose pursuit of the new most closely hewed to the revolutionary mandate; he consistently shunned commercial, narrative filmmaking, and employed political lobbying as well as avant-garde techniques. It may be that the calls-to-arms of the soixante-huitards were foreshadowed by the Manifesto's upstart rhetoric, but where many filmmakers saw May '68 as the culmination of this impulse, for Kluge it was only one event in a long, considered career of political and theoretical engagement.

Although he directed nearly thirty films in the following decades, Kluge's uncompromising politics and formal experimentation ensured that most of these critically celebrated works never reached a mass audience. Yesterday Girl (1965), his first and most typically Neue Kino film, remains the most widely known, but later works such as The Female Patriot (1979), which mixed fiction with fairy-tale animations and the voiceover of a soldier's amputated knee, were often judged overly oblique or abstract, even within the context of the art film.

In 1972 Kluge published Public Sphere and Experience: Toward an Analysis of the Bourgeois and Proletarian Public Sphere, the first of several collaborations with sociologist Oskar Negt. This book clarified his theoretical concerns, and signaled an increased interest in the social functions of media. By the mid-1980s he had more or less abandoned film, an arcane realm, in favor of television, which was cheaper to produce, reached a wider audience, and was potentially more democratic. With Negt, Kluge had argued that one must work within bourgeois social structures in order to effect change; now, finding little to his liking in the TV landscape, he founded his own production company, and struck bureaucratic arrangements that even today insure the inclusion of off-beat programming in which full editorial control is yielded to the directors.

Despite this groundbreaking work, it is his career as a fiction writer that has contributed most to his European renown. Although little-read in Britain and the United States, his writing has been as influential on German-language literature as that of Thomas Bernhard, Heiner Müller, or Peter Handke. As with his film and video work, Kluge's writing draws freely on documentary material, both real and invented, and incorporates interviews, diagrams and news photographs. Indeed, Frederic Jameson called one of these dense, hybrid fictive/philosophical books a "theoretical film." Kluge has treated media as a fluid field, one in which disciplinary boundaries are as questionable as the distinctions between high and low, individual and society, history and the present: all are texts up for renegotiation.

THE DREAMMACHINE - BRION GYSAN

2011-01-18T13:23:00.001-08:00

Marina Abramoic

2011-01-18T13:15:00.000-08:00

Dangerous Games
Laos, HD, color, 3 min. 34 sec.
Original language of the song: Lao

In a small house with oversized furniture, located in a rice field in Asia, some children wearing army clothes and weapons, start playing war, creating between each other two armies and using children's toys, laser weapons, machine guns and helicopters. Slowly, as the game progresses, they start imitating war scenes as seen on TV, such as negotiations and death scenes. At the end of the film, the children are coming out of the house and they deposit their weapons in front of it. The smallest child comes out in the end with a burning bramble stick in his hand and lights the pile of weapons. All the children leave while the pile is burning.

In over twenty countries around the world, children are direct participants in war. Denied a childhood and often subjected to horrific violence, an estimated 200,000 to 300,000 children are serving as soldiers for both rebel groups and government forces in current armed conflicts. Dangerous Games is a work of fiction.

Aleister Crowley

2011-01-18T13:07:00.000-08:00

A look into the life of Aleister Crowley, a man who promoted a life of freedom which often ended in sexual debauchery and perversion as well as drug abuse and occult rituals.

Duration: 50 min.
Genre: Documentary
Country: UK
Directed By: Neil Rawles
Written By: Aleister Crowley
Starring: Brian Cox, Steven Berkoff, Aleister Crowley, Gavin Baddeley, Martin Booth, Kevin Logan

Elke Groen

2011-01-18T13:04:00.000-08:00

Director: Elke Groen
Year: 2007
Time: 9 mins
Music: Dietmar Schipek

Eye of Sound: Groen spent two winters in the Dachstein mountain range in Austria, collecting footage of the unfathomable succession of nights, fogs and shades and the impalpable flow of the freezing Alpian winds. Built like an impressionistic poetic documentary, Nighstill explores the frailty and isolation of these apparently quiet snowscapes, elegantly using time-lapse to capture the invisible movements that imperceptibly sweep the mountain ranges every day: the moon rushing through the sky in an arch; winds oozing like fumes from the rocks; bright stars rapidly sinking into the ground; or the bulky cliffs being traversed by the thinest clouds. Against this seemingly unchanging cycle, a few scattered remains of human existence emerge: the ever-shining winter hotels, abandoned huts, cable cars and a human figure that manages to retain an illusion of permanence in the midst of the constantly shifting landscape. Subtly built into the screen, Schipek's soundtrack is a serene but dynamic montage of fragile organic drones, grainy but hi-fi crackles and processed field recordings that mute the violent wind blows into condensed sonic shivers that create the illusion of replicating the filmic action. Nightstill may perhaps be a misleading title for this hypnotic work: for, in all its beauty and serenity, it emanates an overwhelming sense of untamed motion and violence that stillness can't encompass.

Ikue Mori

2011-01-18T13:02:00.000-08:00

Eye of Sound: Loosely based on a section of the great Indian Mahabharata epic, Mori's Bhima Swarga (The Heaven of Bhima) is a riveting audiovisual exercise that uses mural paintings from the 18th century Kertha Gosha court in Bali to create a beautiful jigsaw of colour, glitch, figurative exoticism and plastic abstraction. The "original" Bhima Swarga tells the story of Bhima's excursion into hell (naraka) to rescue the souls of his father and co-mother and escort them to the gods' heaven. After fighting hosts of ill- and good-natured demons, Bhima and the remaining Pandava brothers must face the violent opposition of ill- and good-natured gods, who, though respecting the hero's resolve to fulfil his promise, cannot tolerate such an inversion in the established order of things. Bhima eventually dies in heaven but is restored to life and glory and given the amrut, the elixir of immortality. Pregnant with philosophical and eschatological significance, the Mahabharata narrative is not Mori's primary focus and is understandably sacrificed in the name of her aesthetic concerns; though these narrative elements are vaguely recognisable, someone unacquainted with the story will hardly grasp these basic guidelines and will instead be overwhelmed by Mori's impressive computer-genrated visuals. Bhima Swarga focuses on the on the beautiful mural paintings of the Kertha Gosha court, which are animated in ways that recall some sections of Paley's brilliant Sita Sings the Blues. But unlike Sita, Mori's Bhima is interested in the uses of visual distortion and glitch for the creation of new aesthetic possibilities. Source materials and backgrounds are corrupted, degraded and pushed to the limits; their integrity is not to be respected and even their figurative nature is often lysergically distorted beyond recognition. The soundtrack features Mori's trademark laptop gimmicks, proving how much the author has matured since her early adventures in electro-foam. A rich sonic palette evolves over the 21 minutes of the piece, ranging from dizzy-ambient sections to her more characteristic crystalline-yet-hectic rhythmical panning. There are a few short takes on the Balinese gamelan and raga traditions, but these fortunately turn out to sound more like respectful tributes than any form of exotic pillage or, even worse, new age pseudo-reverentialism. In the end, Bhima Swarga could hardly stand as a companion to the original Mahabharata story, but would certainly feature among Mori's most rewarding works.

Darlusz Kowalski

2011-01-18T13:00:00.000-08:00

Eye of Sound: Although perhaps cruder in gesture and less lyrical in effect, Kowalski's Elements shares many technical and thematic affinites with Elke Groen's Nightstill. The protagonists are the same: the snowy uninhabitable landscapes, not of the Alps, but of the Alaska; the unflinching winds that daily sweep its vast plains and push cloud formations to their inevitable dissolution; the monotonous light cycles that cast an illusion of change on an unchanging eyescape; and the sometimes disturbingly illusory permanence of man-made and natural scenic objects immersed in a tumultuous and violent wash of transformation. The technical means used to articulate this beautiful study on landscape also bear similarities to Nightstill, resorting to an impressive application of time-lapse in order to inflict violent temporal dislocations on an otherwise placid picture. Unlike Groen's work, however, Elements does not venture into the field and uses footage taken from a website designed to observe the weather in Alaskan airfields: this lends it a much rougher quality but also a starker, unembellished perspective on the ice deserts. This starker approach is also reflected in Németh's soundtrack: grainy particles of sound that seem intended to emulate the violent clash of wind and dust against the camera only briefly give in to more "musical" drones that are immediately followed by figurative allusions to aeroplanes, wind hisses and control-tower voice-cracks.

Mercea Cantor

2011-01-18T12:07:00.000-08:00

Cantor’s Deeparture (2005) is as severely economical in its setup as it is intense in its poetic potential. It involves two unwitting players, a wolf and a deer, in perhaps the most unlikely and artificial environment in which they can find themselves—a white-cube gallery. The artist shot the animals in 16mm film with a seemingly unforgiving eye, structuring a series of taut close-ups from various angles into a seamlessly looping video. Confounding expectations, the “natural” predator-prey relationship does not play itself out here. Instead, both animals keep their distance from each other and appear in turn tense, confused, exhausted, and dejected, even oblivious. As viewers are gradually roped into emotional engagement with the ultimately unreadable animals, they’re led to wonder if these nonhuman players serve as a blank screen upon which human emotions and psychological attachments are projected.

Scott Pagano

2011-01-18T12:03:00.001-08:00

An exploration through a mysterious underwater world inspired by the forms and movement of sea life and micro organisms. Hybrid organic and synthetic creatures undulate and wander through heavy waters in concert with the cinematic soundtrack.

Directed / Designed / Animated by Scott Pagano
neither-field.com

Music Production / Composition / Violin by Laura Escudé
lauraescude.com

Music video/promo for Laura Escudé's debut album "Pororoca" out June 29, 2010.

Included on Stash 70
stashmedia.tv

Recent interview about process & inspiration.
toolfarminspirations.blogspot.com/2010/06/inspirations-conversation-with-scott.html

Scott Pagano

2011-01-18T12:01:00.000-08:00

warm as emerging sunlight (ke$ha - tik tok)
30:00 | HD video with stereo audio

This work is a part of a series created in early 2010 called “The Reverence Collection”. Initially designed for a gallery installation but in light of the Justin Bieber 800% slower phenomenon (soundcloud.com/shamantis/j-biebz-u-smile-800-slower) - I figured it was a sign that the release of these pieces be delayed no longer.

If you have the opportunity please watch these pieces in a dark room with the image as large as possible and with the sound turned up. Enjoy the break from chaos.

Project Description:

The Reverence Collection is a series of sound/image works created by transforming pop music videos into epic slowly undulating audiovisual environments. The source material for the pieces is derived from a careful selection of contemporary top-of-the-charts pop music videos. The transfiguration of fast disposable cultural detritus into a space for slowness, contemplation, and exploration of detail on a time-scale that is less and less attainable amidst the tempo of contemporary society is a modern digital alchemy, turning a slice of the short-attention-span questionable-message cultural data stream into a counterpart 180 degrees from the original motives. The works are designed for reflective introspection and trance-like detachment from a constant crushing inundation by the constant consumption of sensory pollution.

The color and audio in the pieces is sources is derived entirely from the original materials. No additional sound elements are introduced and the rich epic ambient ethereal soundscapes are the result of warping and recomposing the three plus minute disposable pop tracks. In a world that requires constant feedback, communication, consumption, and response - the work strives to take a shard of that chaotic density and turn the raw source material into an intense environment for introspection and meditative focus on deceivingly simple compositions of evolving sound and image.

In a similar fashion to the sound, the imagery is stretched, processed, and shattered to be used as raw color information for the skeletal backbone of the glass-like sculptural forms that slowly undulate and glimmer with the audio. The creation of almost-still slowness from the fast-paced distraction-dynamics invites the potential to deny the attention-deficit culture around us and embrace the opportunity to be enveloped by light and sound.

Tahkashi Murakami

2011-01-18T11:55:00.001-08:00

Murakami, an artist known for merging fine art with commercial product better than everyone else, first made a sculpture, Inochi ("Life"). Later on he decided to shoot a sexy "commercial" for the sculpture as if it were a car or any other luxury product.

Takashi Murakami (b. 1963)

2011-01-18T11:53:00.000-08:00

An ad campaign for Louis Vuitton. An updated alice in wonderland, in which a girl, searching for her lost cell phone, floats in a dizzying world of the company's logos. While waiting to meet her friends outside of a Louis Vuitton store, Aya's cell phone is eaten by the LV Panda, who then promptly swallows Aya - but the inside of his stomach is gateway to a psychadelic wonderland. Created by famed superflat artist Takashi Murakami.

Jonas Dahlberg

2011-01-18T11:48:00.000-08:00

Year 2004. Single channel video installation. Projection size 400 x 300 cm.

In Jonas Dahlberg’s video Weightless Space, the work that comes closest of any in the exhibition to expressing pure abstract space, the walls are the only feature of which one can be certain. Projected onto a false wall, creating the illusion of an extension of the box made to house it, the video shows a conventional, empty 1970s room, with a door slightly open to a brightly lit outside. The only object is a pot with a green plant that floats slowly around the room as if unaffected by gravity. The process of watching this endless film that focuses solely on weightlessness changes the viewer’s perception of their own body, bound by gravity, as unusually heavy. Having been seduced by the mesmeric movement of the pot, the viewer’s reactions shift to physical discomfort and loneliness, caught between his being and empty space. Although the room presented is the kind of neutral environment that we pass through on a daily basis, because the room itself is stripped back to the fundamentals of floor, walls and ceiling, our normal experiences of time and space become disorientated, the familiar uncanny.

Weightless Space appears to be digitally manipulated, but is in fact created by a camera movement through an artificially constructed space. A model of the room, placed in an aquarium filled with glycerol, was connected to a camera and the entire structure attached to a gyroscope which rotated the model in front of the camera. Dahlberg’s comment that ‘as an artist I can command a space perhaps even more fully than an architect who always has to hand over his creation’ affects one’s reading of Weightless Space. Although the model is an autonomous environment, not dissimilar from an architect’s model, it is designed purely to produce an illusory image of a timeless, science-fiction type environment.

-- Felicity Lunn, Interior View; Artists explore the language of architecture. (Catalogue text)

From Biological Signals to Music

2011-01-02T05:39:00.000-08:00

From Brainwave Music Paper by

Ivana Andjelkovic

ivana (at) mat.ucsb.edu
Media Arts & Technology
University of California - Santa Barbara

According to their frequency, brain waves are classified into five main categories:
Type: Frequency: Normally occur in:
Delta up to 4 Hz deep sleep, babies
Theta 4 Hz – 8 Hz young children, drowsiness, hypnosis
Alpha 8 Hz – 12 Hz relaxed, alert state of consciousness, eyes closed
Betta 12 Hz – 30Hz active, busy or anxious thinking
Gamma 30 Hz – 80Hz higher cognitive activity, motor functions

In clinical usage, it can be sufficient to examine raw EEG data and reveal brain malfunctions.
When these raw waves are made audible by a simplest method used in the first experiments in early
20th century, which is by allowing the waves to vibrate the membrane of loudspeakers, nothing but a
filtered noise can be perceived. Therefore, to be utilized in brainwave music and BCI research, signals
have to undergo sophisticated quantitative analysis. Techniques commonly used are power spectrum
analysis, spectral centroid, Hjorth, event related potential (ERP) and correlation, to name but a few.
Once EEG signals are processed, various methods for generating EEG dependant music can be
applied. Those can be classified into two categories:
1 – Parameter mapping approach
This approach entails usage of mathematical and statistical techniques to translate
physiological electrical signals into sounds characterized by pitch, duration, timbre and intensity. To do
so, it is important to understand the nature and meaning of signals i.e. neural processes, and the
nature of music that is to be produced. An extremely difficult problem, not yet solved - synthesizing
melody by means of simply thinking of one, would require implementation of parameter mapping. Much
research in the field of cognitive science is needed in order to unambiguously interpret biological
signals. Consequently, there is currently no set of formal rules in the usage of this approach, and the
decisions made in the process depend on the desired outcome.
A simple example of parameter mapping approach usage is Alvin Lucier’s “Music for Solo
Performer” where strong alpha waves were translated into increased sound intensity and temporal
density. More recently, a group of Chinese scientists proposed sonification rules based on the scale –
free2 phenomenon embodied in both neural networks and sound [5]. According to these rules, period of
EEG waveform is mapped to the duration of the note, average power to the music intensity and the
amplitude to the music pitch.
2 – Event triggering approach
In this approach, EEG data is continuously scanned for changes in the characteristic features of
a signal which, when detected, act as event triggers in music generation process. Some of those
characteristics commonly being employed are local voltage maxima and minima, time and voltage
differences between them. This approach allows detection of singular events like spikes on one side
and repetitive activity on the other – the latter being appealing for translation into musical form since
it can be perceived as a rhythmic musical pattern. In practice, event triggering method is generally
used in order to control brain-computer music instruments and sometimes combined with parameter
mapping to enrich acoustical content.
An example of the method is a study by Mick Grierson [6] (Goldsmith College, UK) in which he
allowed series of notes to be displayed on a computer screen, while the subject is focused on a single
note at a time. When that particular note appears on the screen, subject’s brain reacts and a change in
EEG signal is detected, which triggers the note to be played.
In the Brain Controlled Piano System by Eduardo Miranda [4], the most prominent frequency
and the complexity of the signal extracted from processed EEG data served as event triggering
information. The first one activated generative rules for algorithmic music composition while the latter
controlled tempo of the music.

http://leoalmanac.org/resources/emonograph/rosenboom/rosenboom.html
http://www.mat.ucsb.edu/~ivana/#

Whereas Teitelbaum’s and Lucier’s works relied on idiosyncratic EEG controlled
music instruments, Rosenboom extended the idea into the musical syntax by addressing meaningful
feature extraction from EEG data [3]. Up to date, he has conducted extensive research on
psychological and neurological foundation of aesthetic experience, computer music software and brain-
computer interfaces.

Pierre Huyghe - Anlee

2011-01-01T13:43:00.000-08:00

http://www.youtube.com/watch?v=QcaJeRRSces&feature=related

surrealist minimalist design

2010-09-05T06:25:00.000-07:00

http://static.dezeen.com/uploads/2008/11/surreal-minimalism-by-david-pompa-3.jpg

more paper

2010-01-14T18:21:00.001-08:00

wear paper

2010-01-14T17:26:00.001-08:00

I Could Tell You But Then You Would Have to be Destroyed by Me: Emblems from the Pentagon's Black World (Hardcover) by Trevor Paglen (Author)

2009-05-27T17:07:00.001-07:00

2001 Mark Hansen and Ben Rubin

2009-05-27T15:42:00.000-07:00

Trevor Paglen

2009-05-27T15:36:00.000-07:00

Limit-Telephoto
The Black Sites
Missing Persons graphy
Symbology

Applied Autonomy

2009-05-27T15:32:00.000-07:00

pimpstar

2009-05-22T17:37:00.001-07:00

The Ninth Bridgewater Treatise By Charles Babbage

2009-05-18T16:09:00.001-07:00

Pattie Maes demos the Sixth Sense

2009-05-18T15:33:00.000-07:00

http://www.youtube.com/watch?v=9wHFlxW606o

2009-05-13T16:32:00.000-07:00

http://www.youtube.com/watch?v=9wHFlxW606o

omar fast

2009-05-13T16:23:00.000-07:00

spiritsurfers

2009-05-13T16:16:00.001-07:00

http://www.michaelbellsmith.com/

2009-05-13T15:57:00.000-07:00

yesmen

2009-05-13T15:55:00.000-07:00

http://dowethics.com/

emily jacir

2009-05-13T15:45:00.000-07:00

Surveillance Camera Players: 1984

2009-05-13T15:44:00.000-07:00

Jill Magid

2009-05-13T15:41:00.000-07:00

vito acconci

2009-05-06T15:54:00.000-07:00

george miller and janet cardiff

2009-05-06T15:42:00.000-07:00

jenny holzer

2009-05-06T15:40:00.000-07:00

Christian Jankowski

2009-05-06T15:39:00.000-07:00

gamestuff...

2009-04-30T04:07:00.000-07:00

http://giantsparrow.com/games/swan/

http://www.offworld.com/2009/01/beat-connection-gaijin-send-us.html

20 Questions

2009-04-08T15:49:00.001-07:00

iGod

2009-04-08T15:48:00.000-07:00

Joe McKay - Digital Art II

2009-04-08T15:47:00.000-07:00

the evening class

2009-02-26T00:19:00.001-08:00

Omar Fast “CNN”

2009-02-25T17:02:00.000-08:00

Sean Uyehara

2009-02-25T17:00:00.000-08:00

Came to talk to us! in Jonn Herschend's Video class!!!!

The Audible Past By Jonathan Sterne

2009-02-25T16:46:00.001-08:00

The Aesthetics of Disappearance - Paul Virilio

2009-02-25T16:37:00.000-08:00

A FOREST IN WINTER

2009-02-25T16:35:00.000-08:00

SUNDANCE FILM FESTIVAL FORGETFULNESS BILLY COLLINS

2009-02-25T16:16:00.001-08:00

GEORGE GENDI

2009-02-25T16:13:00.000-08:00

Orgesticulanismus

2009-02-25T16:03:00.001-08:00

MAGNETIC MOVIE

2009-02-25T16:02:00.001-08:00

scary...........................!!!

2009-02-25T11:20:00.001-08:00

Janine Antoni

2008-07-27T12:59:00.000-07:00

GNAW 1992

Doug Aitken

2008-05-25T15:18:00.001-07:00

Doug Aitken
«Electric Earth»
In Doug Aitken’s cinemascope-like, walk-in, multi-sectioned, video installation «Electric Earth» [...] the public is transported into the atmosphere of an airport by night. A flaming car and an abandoned shopping cart compliment the eerie scenario while, in a parallel world, a noiseless, black rapper sashays through an urban landscape.[...] Here the world of the 20th century is described as though it concerns the remains of an unknown civilization. The role of the black protagonist in «Electric Earth» is so devised that it suggests a meeting of French existentialists with America’s big-city world. Why this and other productions by Doug Aitken continually capture the public’s attention from anew, and often seem to hypnotize them, is something that Aitken explains by knowing how to communicate with the public using here a moment perhaps borrowed from the area of Pop-culture: he says that he is uninterested in compromises of any kind and would refuse to produce intimate works that take time to unfold.

Flickr

2008-04-28T22:08:00.001-07:00

This is a test post from , a fancy photo sharing thing.

shunyata

2008-03-24T23:23:00.000-07:00

Moment to moment, and with every step, the Fool leaves the past behind. He carries nothing more than his purity, innocence and trust, symbolized by the white rose in his hand. The pattern on his waistcoat contains the colors of all four elements of the tarot, indicating that he is in harmony with all that surrounds him. His intuition is functioning at its peak. At this moment the Fool has the support of the universe to make this jump into the unknown. Adventures await him in the river of life.

The card indicates that if you trust your intuition right now, your feeling of the 'rightness' of things, you cannot go wrong. Your actions may appear 'foolish' to others, or even to yourself, if you try to analyze them with the rational mind. But the 'zero' place occupied by the Fool is the numberless number where trust and innocence are the guides, not skepticism and past experience.

The card shows a tower being burned, destroyed, blown apart. A man and a woman are leaping from it not because they want to, but because they have no choice. In the background is a transparent, meditating figure representing the witnessing consciousness.

You might be feeling pretty shaky right now, as if the earth is rocking beneath your feet. Your sense of security is being challenged, and the natural tendency is to try to hold on to whatever you can. But this inner earthquake is both necessary and tremendously important - if you allow it, you will emerge from the wreckage stronger and more available for new experiences.

After the fire, the earth is replenished; after the storm the air is clear. Try to watch the destruction with detachment, almost as if it were happening to somebody else. Say yes to the process by meeting it halfway.
The symbol in this card is an enormous wheel representing time, fate, karma. Galaxies spin around this constantly moving circle, and the twelve signs of the zodiac appear on its circumference. Just inside the circumference are the eight trigrams of the I Ching, and even closer to the center are the four directions, each illuminated by the energy of lightning. The spinning triangle is at this moment pointed upward, toward the divine, and the Chinese symbol of yin and yang, male and female, creative and receptive, lies at the center.

It has often been said that the only unchanging thing in the world is change itself. Life is continuously changing, evolving, dying and being reborn. All opposites play a part in this vast circular pattern. If you cling to the edge of the wheel you can get dizzy! Move toward the center of the cyclone and relax, knowing that this too will pass.
Being "in the gap" can be disorienting and even scary. Nothing to hold on to, no sense of direction, not even a hint of what choices and possibilities might lie ahead. But it was just this state of pure potential that existed before the universe was created.

All you can do now is to relax into this no-thingness...fall into this silence between the words...watch this gap between the outgoing and incoming breath. And treasure each empty moment of the experience. Something sacred is about to be born.

Your inner being, when it opens, first experiences two directions: the height, the depth. And then slowly, slowly, as this becomes your established situation, you start looking around, spreading into all other eight directions. And once you have attained to the point where your height and your depth meet, then you can look around to the very circumference of the universe. Then your consciousness starts unfolding in all ten directions, but the road has been one.

remember (about squares)

2008-03-23T03:13:00.000-07:00

Happenings, Alan Kaprov, p 93 2nd paragraph (the shape of the art environment) p 97, 98 nonart
http://books.google.com/books?id=HMKyDQr4kHEC&pg=PA99&lpg=PA99&dq=marta+minujin&source=web&ots=qYoc5wSOQA&sig=SiUay99DYqsgNXMhlMlxb4Ym6VY&hl=en#PPA93,M1

NICOLA L.

2008-03-22T22:13:00.000-07:00

THE BLACK COAT 1996 - Performance
(9 Femmes Fatales in their own words)

A rectangle of black plastic skins, composed of 9 jackets and hoods. The lower part of the body is free. The faces are hidden by masks which bear the name of the woman they represent.
Madame Bovary, Frida Kahlo, Marilyn Monroe, Mona Lisa, Billie Holiday, Cleopatra, Eva Hesse, Joan of Arc, and Ulrike Meinhof.

The Blue Cape of Cinema is an ephemeral monument inhabited by 12 persons
the time of each performance. Each action consists of a march parade
in a city and a place of a designated country.
During the processing of the parade, the inhabitants of the Cape will change masks and identities

Penetrables Performance:
-----------------------
The Dominatrix 2000
(vinyl 6 feet high)

These are 9 historical women.
Through the domination they exercised on men, they were able to control the power . (like sex, money, politics, etc.)
They are The Dominatrix and are represented here in a black plastic skin.
Each one inhabits the skin when penetrating it with her colored disk, a portrait revealing her identity.
This group is ephemeral. Therefore, the assemblage may changed at the next event.

PENTHESILEA, GEORGE SAND, SALOME, MATA HARI AGRIPPINA the Younger, CLEOPATRA, CI XI or TS’EU-HI ELISABETH I, CARMEN

The NIGHT THING
The idea is to be inside the canvas
Being five inside the canvas
The canvas is the night.
Playing with the letters of the night...
N I G H T ---- T H I N G

The White Cape Of Cinema

Performance Dinner For
Nine Historic Hysteric Women and their guests

1979 New York, Travelling Penetrable Nicola carrying
a suitcase with a body cut in pieces (made in 1970)
(case plexi, body in soft penetrable canvas, 6 ft. high)

The Red Coat "Same Skin for Everybody"

First Bath Performance - Ibiza 1969

Performance with Fernando Arrabal
New York 1992

THE PINK CYLINDAR

CINEMA PENETRABLE

"A Long Day’s Journey to
the End of the Skin"
Popular expressions draw a clear distinction between the container and its contents: “I’ve got you under my skin”, “Beauty is only skin deep”...This is the ultimate way in which the human territory defines its borders. The skin represents the physical frontier of psychology, of feeling, of sensitivity: the ego is in the bag.
Sometimes, the bag is a prison. Who has not wanted to get out of himself? By nature, certain mollusks are constantly in search of a protective shell: someone else’s armour. Nicola actually offers us a second skin, smooth and impregnable. Plastic in every sense of the word, in appearance and in reality. mounted on frames, extensions of the stretched canvas, the panoply of mutts, leggings and bonnets invite us on a journey. A journey that’s an organic ritual of penetration and osmosis.
This synthetic skin, the skin of everybody and nobody, absorbs the warmth of the flesh in its folds: after withdrawal, for a moment, it keeps the imprint of the former occupant, the immediate impression of its absence. Penetration of the interior, return to the womb, penis and vulva, finger and glove: we go back instantly to the very source of life, into the organic universe of all rebirth.
Nicola’s imagery borrows nothing from the folklore of modern nature. She doesn’t build up any imaginary structure. She cuts into the living flesh of our senses. She invites us to live, as she does, to the quick. We’re touched by Nicola’s work because it concerns us immediately. This woman who resembles no one, not even herself, restores the skin’s sensuality before our very eyes. It’s not true that appearances are deceiving: they’re the skin of things, and they’re there, period! You have to penetrate them to experience them, and life is no more than that.
Nicola’s work is like a lesson in the facts of life for sensitive and consenting adults. The experience is oddly enriching: the skin finds its tactile language, its supple gesturing, its overall expressiveness.

Pierre Restany
September 23, 1968

I'M NOT SURE I AGREE WITH THIS ENTIRELY. I'M NOT SURE THAT THE SURFACE IS ALL THERE IS, OR EVEN THAT SURFACE IS THE ONLY DISTANCE WE HAVE TO TRAVEL OR ENGAGE TO 'UNDERSTAND' OR 'EXPERIENCE'.

Fur Room
Gallery Appolinaire 1970
La Fenice, Venise
"Je/Nous" Ixelles Museum, Belgium 1975

the eye

albert camus

2008-03-17T02:00:00.000-07:00

'art cannot be a monologue. contrary to the current presumption if there is any man who has no right to solitude it is the artist.'

The Stranger and Solidarity

Albert Camus characterizes his justification of the absurd through the experiences of a protagonist who simply does not conform to the system. His inherent honesty disturbs the status quo; Meursault’s inability to lie cannot seamlessly integrate him within society and in turn threatens the simple fabrics of human mannerisms expected of a structurally ordered society. Consequently, the punishment for his crime is not decided on the basis of murder, but rather for the startling indifference towards his mother’s recent demise. Even after a conflicting spiritual discussion with a pastor inciting Meursault to consider a possible path towards redemption, the latter still refuses to take upon salvation and symbolizes his ultimatum by embracing the “gentle indifference of the world;” an act which only furthers his solidarity with a society incapable of realizing his seemingly inhumane and misanthropic behavior.

aphrodite

2008-03-17T01:16:00.000-07:00

saint teresa of avila

2008-03-17T00:40:00.000-07:00

feathered walls?

2008-03-11T00:02:00.001-07:00

Manfred Mohr

2008-03-07T11:46:00.000-08:00

Manfred Mohr
«P-159-A»
Using the combinatorics of the elements of a cube which have been broken down into minute particles of lines, Mohr accomplishes a type of storyboard for an abstract animation. As a two-dimensional surface, however, it plots a gradual intensification of the lines in the centre. The reduction of the title to character combinations reflects Mohr's interest in aesthetic and semiotic questions and results, as opposed to the production of art-works in the traditional sense. What counts for Mohr is not the single graph, or line, but the complete ensemble of statistical relationships that manifest themselves in a series of aesthetic constructions and structures.

Paul Sermon >

2008-03-07T11:32:00.000-08:00

Paul Sermon
«Telematic Dreaming»
«Telematic Dreaming» (1992) turns a bed into the support of high-resolution images that might show a partner, intimately alive although being thousand kilometers away. The light-intense projection of the other results in a remarkable suggestion which turns the touch of the projected body into an intimate action. Sermon aims at expanding the senses of the user, while it is obvious that the other cannot really be touched but that only swift, decisive, possibly tenderly reactive movements can experience the suggestion of touch—a moment of contemplation, as many users observed. The synaesthetical, sensual impression lets the hand and the eye fuse, and it is this effect that characterizes this work as well as the works to come in the following years, in collaboration with Andrea Zapp.
Oliver Grau

Dieter Schnebel

2008-03-06T23:53:00.000-08:00

Dieter Schnebel
«Mo-No: Music to Read»
This reading-book and picture-book offers neither literature nor simply art for the eye, confined to the page. Rather 'mo-no' is music, a music to read; more precisely: music for a reader. The reading of the book is intended to stimulate music in the listeners head. In reading the music he is alone: mono; as such he becomes the performer of the music, makes music for himself.
This book contains in part texts intended to lead to the hearing and linking of passing external sounds. [...]
In parts the text describe sounds which are only to be imagined, to be produced in the readers mind [...]
In addition the book contains notes. Admittedly not of the kind one is accustomed to (that one could play) rather the notes are to be viewed, thus leading to the formation of 'imaginary landscapes'. [...]
So the book sets out to lead the reading hearer (the hearing reader) to the music sounds which surround us, but also to bring him into direct contact with that imaginary music which always arises within us, from sounds both real and unreal.

From: Dieter Schnebel: Mo-No: Music to Read, Köln 1969.

Baude Cordier

2008-03-06T23:52:00.001-08:00

Baude Cordier
«Belle, bonne, sage: belle-bonne-sage»

nebula

2008-03-06T23:47:00.000-08:00

Netochka Nezvanova
«nebula.m81: Autonomous»
Nebula.M81 is a web-based Macintosh user application and an aesthetic processor of html code retrieved from web sites, which it turns into animated text, graphics and sound displays that can partly be influenced by user-triggered parameters. Nebula.M81 ranked highest on the jury's scales of code as attitude.

Synaesthesia Alexander Skrjabin

2008-03-06T23:43:00.000-08:00

Alexander Skrjabin
«Promethée. Le Poème du feu»
«Prometheus» is the last symphonic poem by the Russian composer Aleksandr Scriabin. An exceptional quality of the work is Scriabin’s conceiving as an instrument a so-called «color piano». In his time, the composition was no longer performed with the «luce» voices or the two voices for color piano (which first occurred in 1916, in New York, a year after his death). At least in part Scriabin was an «authentic» synaesthete. These self-invented analogies were the starting point for his arrangements and the second phase of the compositional rendering of «Prometheus». With «luce,» Scriabin designated two voices for color piano in which each tone was assigned to a color within an octave, meaning in similar colorings of the neighboring fifth-measure tones. In doing so, he aligned his ordering alias arranging of color to «the system of functional tonality that he had just suspended in the case of Prometheus» (Gottfried Eberle, Mysterium und Lichttempel, in: Europäische Utopien seit 1800. Der Hang zum Gesamtkunstwerk, Berlin Artists’ Program of the DAAD (eds.), 1984, p. 49). With respect to the colors, one of the two luce voices was aligned with the corresponding tonal-harmonic basic tones, derived in a marked elementary fashion from the systematic ordering. In the symphonic context, the second luce voice was then entrusted, formally and independently, with a different meaning regarding contents: the levels of light demonstrated the deeply psychological contents of the work’s narrative basis. It opens with a blue phase (in sharp) and – greatly intensified – returns to this tone color. Scriabin saw the blue in the beginning as «spiritual and etherizing,» as an original state of rest which finally develops to a phase of liberated human will (red-yellow) and culminates in ecstasy (an intense blue = a glowing sharp-major-tritone).
What is in part the uniting of the arts in «Prometheus» found its conceptual continuation in the unfinished sketches of Scriabin’s «Mystère». For the forthcoming generation, both concepts were deemed innovative as utopias for the merging of the senses in a universal artwork.

Julia Gerlach

Battus, Pascal; Maad, Kamel

2008-03-06T23:39:00.000-08:00

Graham Harwood

2008-03-06T23:33:00.000-08:00

Graham Harwood (Mongrel)
«Rehearsal of Memory»
The aim of this piece was to work with a group of people from Ashworth a high Security Mental Hospital to produce an interactive programme embodying the life experience of those involved. This is manifested in the form of an anonymous computer personality made up of the collective experience of the group. Ashworth Hospital is located in the north of England near Liverpool and is home and prison to people who are a danger to themselves or to people outside the hospital.
The group of patients I worked with ranged from serial killers to rapists, potential suicides and casualties of the excesses of society. The staff I worked with included psychiatric nurses of twenty years experience and orderlies.
This artwork is about the recording of the life experiences of the client group that are a mirror to ourselves (‹normal society›) and our amnesia when confronted with the excesses of our society. This forgetting is a dark shadow cast by plenty, a nightmare for some that constructs misinformation and fear about insanity, violence and victims.
This mental space is occupied by the psycho, the nutter, the mad dog and Bedlam; this is the space where strong fictions lie and invisibly glue together the mirror from which we view our own sanity. This work is about people everywhere who are trying to remember the faces of the extras in the cinema of history. This artwork is a rehearsal of memories not quite forgotten. Evil, sleazy, dirty, dangerous, sick, immoral, crazy, or just plain normal.
Graham Harwood

Jean Dupuy

2008-03-06T23:28:00.000-08:00

In a black rectangular box, a window at eye level opens onto a 24' cube which houses the sculpture. The form is created by thrusting dust up into a cone of light. The dust is Lithol Rubine, a brilliant red pigment chosen for its ability to remain suspended in air for long periods. The thrust is achieved by amplified heart-beats from an attached stethoscope or a continuous loop tape recording of heartbeats played on a speaker mounted directly under a tightly stretched rubber membrane upon which the dust sits.
Pontus Hulten

Ulrike Gabriel

2008-03-06T23:23:00.000-08:00

By regulating their breathing, which is registered by sensors on the belt they wear, visitors can alter the dynamics of the sounds reproduced around them and of the images projected on a surface (or, in an expanded version, four surfaces) in front of them. Their breathing causes the polygons in the computer-generated image to oscillate. The more regular the breathing, the more complex and chaotic the visual and acoustic processes become. Events in ‘Breath' do not take place in an entirely random way, for the time structure is programmed to make the visitor's breathing affect images that have just passed. Gabriel here creates a complex system of biological feedback that goes beyond the simple relationship between action and reaction.

jitter selfportraits by botox

2008-03-05T03:25:00.000-08:00

Stills from 'evolglove' by botox

2008-03-05T03:21:00.000-08:00

Peter Campus

2008-03-05T03:12:00.000-08:00

Peter Campus
«Three Transitions»

Nam June Paik

2008-03-05T03:02:00.000-08:00

http://www.blogger.com/img/gl.photo.gif

Dan Graham

2008-03-05T02:58:00.000-08:00

Bruce Nauman

2008-03-05T02:55:00.000-08:00

Nauman set two monitors above one another at the end of a corridor almost ten meters long and only 50 cm wide. The lower monitor features a videotape of the corridor. The uppermost monitor shows a closed-circuit tape recording of a camera at the entrance to the corridor, positioned at a height of about three meters. On entering the corridor and approaching the monitors, you quickly come under the area surveyed by the camera. But the closer you get to the monitor, the further you are from the camera, with the result that your image on the monitor becomes increasingly smaller. Another cause of irritation: you see yourself from behind. Moreover, the feeling of alienation induced by walking away from yourself is heightened by your being enclosed in a narrow corridor. Here, rational orientation and emotional insecurity clash with each other. A person thus monitored suddenly slips into the role of someone monitoring their own activities.

(source: Dörte Zbikowski, in: Thomas Y. Levin (ed.), CTRL[SPACE]. rhetorics of surveillance from Bentham to big brother, ZKM | Center for Art and Media, Karlsruhe 2001)

Peter Weibel

2008-03-05T02:52:00.000-08:00

Peter Weibel
«Observation of the Observation: Uncertainty»
The cameras and monitors are juxtaposed in such a way that the viewers are unable to see themselves from the front, no matter how much they twist and turn. The self-observers see different parts of their bodies, but never their faces. Shut inside a room, every point in the room is the observer’s jailer, perspective of their deathly fate.
This installation is part of the video sculpture «Kruzifikation der Identität» («Crucifixion of the Identity»), for both works have to do with crosses.

Peter Weibel

Gillette, Frank; Schneider, Ira, 1969

2008-03-05T02:48:00.000-08:00

Gillette, Frank; Schneider, Ira
«Wipe Cycle»
With nine monitors and a live camera, «Wipe Cycle» transposes present-time demands as a way to disrupt television’s one-sided flow of information. In the exhibition «TV as a Creative Medium,» the installation was constructed before the elevator. So each visitor was immediately confronted with his or her own image. But the monitors also showed two video tapes and a television program. The installation, which made visitors a part of the information, was rigged in a highly complicated fashion: in four cycles, images wandered from one monitor to the other delayed by eight or sixteen seconds, while counter-clockwise a gray light impulse wiped out all the images every two seconds.

(Source: «Video-Skulptur retrospektiv und aktuell 1963–1989», Wulf Herzogenrath/Edith Decker (eds.), Cologne, 1989, p. 114.)

Andy Warhol

2008-03-05T02:41:00.000-08:00

these things scar our memory

The Empire State Building filmed for 8 consecutive hours from dusk till dawn of the following day, shot on the night of the 25th of June 1964 from the 44th floor of the Time Life Building. «Empire» is an object-trouvé, a ready-made that prefigured today’s webcam images. It can also be considered a ‹structural film›: the obsessive repetition of the same image triggers our focus on the act of looking, on the value of the frame and most of all on the film duration. Time of reality and time of cinema are the same.
x He thus produces a synchronicity of filming time, represented time, and the time of reception, which, precisely due to the refusal of dramatic possibilities, moves the perception of time and the expectant posture of the audience—the product of media conventions—to the center of attention. Much more interesting than the question of what happens in the film is here the question of what happens in the audience.

Douglas Gordon

2008-03-05T02:31:00.000-08:00

Douglas Gordon

Gordon attempts to translocate the myths, images, and projections of cinema to artistic realms. He usually incorporates original films in his video installation, which he estranges through the use of slow motion, fast forwarding, or double exposures, and in this way reactivates them. Raised in a Calvinistic environment, as much as by the «babysitter» of TV, Gordon consistently questions moralistic criteria such as good and bad.

Douglas Gordon
«24 Hour Psycho»
«Realistically, no one can watch the whole of «24 Hour Psycho», which consists of Alfred Hitchcock’s film «Psycho» (1960) slowed down so that a single, continuous viewing lasts for twenty-four hours. While we can experience narrative elements in it (largely through familiarity with the original), the crushing slowness of their unfolding constantly undercuts our expectations, even as it ratchets up the idea of suspense to a level approaching absurdity.»

(source: Russell Ferguson, «Trust Me,» in: Douglas Gordon, Cambridge/MA, 2001, p. 16.)

Account of the artist’s statement «He [Douglas Gordon] went on to imagine that this ‹someone› might suddenly remember what they had seen earlier that day, later that night; perhaps at around 10 o’clock, ordering drinks in a crowded bar with friends, or somewhere else in the city, perhaps very late at night, just as the ‹someone› is undressing to go to bed, they may turn their head to the pillow and start to think about what they had seen that day. He said he thought it would be interesting for that ‹someone› to imagine what was happening in the gallery right then, at that moment in time when they have no access to the work.»

(source: Douglas Gordon on a hypothetical viewer of «24 Hour Psycho» in: David Gordon, «...by way of a statement on the artist’s behalf», in: Douglas Gordon: Kidnapping, Eindhoven, 1998, p. 83.)

«5 year drive-by»
«5 year drive-by» refers to the duration of the storyline of «The Searchers,» the Western by John Ford. With a guaranteed happy ending, John Wayne needs five years—therefore the installation’s title—to find a kidnapped child. The actual film lasts 113 minutes and the installation just under seven weeks. The rest is a matter of calculating: comparing the duration of the film’s storyline to the duration of the film, and having five years, seen in relationship to seven weeks as 113 minutes, yield roughly three minutes. Gordon stretches these three minutes to fill the entire 47 days of the exhibition. The projection moves single frame by single frame, so that a second of film time lasts approximately six hours. Viewers imagine a stationary shot, when what they see in reality is a sequence: before a picturesque Western landscape, a posse on horseback makes itself ready to ride down into the valley. With John Wayne most likely in the lead.

Hiroshi Sugimoto, «Theaters», 1978

2008-03-05T02:25:00.000-08:00

Hiroshi Sugimoto
«Theaters»
Since the 1970s, Sugimoto has worked on his photo-series entitled «Theaters,» in which he photographs auditoriums of American movie theaters, and drive-in movies, during showings. The exposure time used for the photograph corresponds with the projection time of the film. This allows him to save the duration of the entire film in a single shot. What remains visible of the film’s time-compressed, individual images is the bright screen of the movie theater, which illuminates the architecture of the space. That its content retreats into the background makes the actual film a piece of information, manifesting itself in the (movie theater) space. As a result, instead of as a content-related event, film presents itself here as the relationship between time and spatial perception.

«One night I had an idea while I was at the movies: to photograph the film itself. I tried to imagine photographing an entire feature film with my camera. I could already picture the projection screen making itself visible as a white rectangle. In my imagination, this would appear as a glowing, white rectangle; it would come forward from the projection surface and illuminate the entire theater. This idea struck me as being very interesting, mysterious, and even religious.»
Hiroshi Sugimoto

(Source: Cat. Thomas Kellein, Hiroshi Sugimoto, «Time Exposed,» 1995,
p. 91)

Heike Helfert

ART+COM

2008-03-05T02:05:00.000-08:00

art+COM
«Founded in 1988 by a group of artists, designers, scientists, and technicians, including Monika Fleischmann, Dirk Lüsebrink and Joachim Sauter. Art+Com realizes ambitious, custom-tailored applications in the field of information and communication technologies, commissioned by the industry as well as in the context of exhibitions.

A «framed» flatscreen displays the painting. Behind this screen we installed an eyetracker (camera and PC). The camera is pointing at the viewers eyes. The camera-images are sent to the PC where they are digitized. The PC analyses the videosignal and locates the reflections of an infrared-lightsource in the viewers eyes. With this it can calculate exactly on which part of the painting the viewer is looking at. These positions are then sent to a graphic workstation where an algorithm is distorting the picture exactly at these coordinates. This means that as soon as a viewer looks at a particular part of the picture this part is distorted.
If no one looks at the picture for more than 30 seconds the picture is regenerated to its original condition.
In the past an old master might leave an impression in the mind of the passive onlooker - now the onlooker can leave an impression on the old master.

Jochem Hendricks - Eye Drawings

2008-03-05T01:59:00.000-08:00

«The technical process is as follows. In order to draw I wear a special helmet which is equipped with two infra-red sensors, which are in turn linked to two small video cameras. Via the reflexes of the retina the infra-red sensors follow the movements of my left and right eyes simultaneously and this input is recorded separately by the video cameras. These recordings can then be digitalized, for each point on which the eye rests for at least a hundredth of a second can be located in terms of coordinates on the X and Y axes. These coordinates can then be evaluated by a computer – in my case, by all points being plotted in terms of the temporal sequence in which they arose and then connected by an unbroken line, whereby the left and right eyes are treated separately.» Jochem Hendricks (source: Jochem Hendricks, Augenzeichnungen, Vexer Verlag St. Gallen and author, 1993; publ. on the occasion of the exposition »Zeichnung« in the Kunsthalle St. Gallen, 1993.)

Tamás Waliczky

2008-03-05T01:55:00.000-08:00

Alfons Schilling, «Random Pattern Stereo», 1973

2008-03-05T01:53:00.000-08:00

Ivan Sutherland, «Head-Mounted-Display», 1968

2008-03-05T01:47:00.000-08:00

Kleinefenn, Florian; Rahmann, Fritz Watteau» Camerafahrten mit Automobil, 1987

2008-03-05T01:44:00.000-08:00

John Cage

2008-03-05T01:38:00.000-08:00

Arndt, Olaf; Moonen, Rob, «Camera Silens», 1994

2008-03-05T01:32:00.000-08:00

An installation for one user at a time in an anechoic chamber equipped with a medical chair and a closed-circuit surveillance system.

This work fascinates in its dynamic multiplexity - the way it frames the endless relationship in art between observer and artwork, where meaning lies, containers versus contained, the experience of the invisible, the listening to the unheard, the blurring of interior and exterior, the endless feed-back/folding back of space and meaning on itself via the surveillance camera, the beauty of the frame in which it's executed - ultimately this piece is a rare treasure of sound art.

"A piece of conceptual art, an environment, an installation, an interactive work of art and media, or a scenario for a media theater.«Camera Silens» does not fit easily within the common categories of art criticism, due to its complex and ambiguous use of media. Merely listing the material components of the project, going through the array of obscure archival material used to research the concept, or describing the spatial installation will not lead to an interpretive understanding of the project. However, it becomes immediately obvious that the environment not only possesses a formal sense of its own, but makes reference to a larger meaning beyond the bounds of its existence as an artwork. [...]
The reports of those who have experienced the work reveal that, in it, a form of low-tech cyberspace exists: a cybernetic room, pre-programmed to perfection with total control, which suggests escape as the only possible reaction."

(Source: Hans-Peter Schwarz (ed.), Media Art History, ZKM Medienmuseum, Prestel: Munich 1997)

James Turrell, «Perceptual Cell», 1991

2008-03-05T01:27:00.000-08:00

Jeffrey Shaw - Movie Movie

2008-03-05T01:19:00.000-08:00

This makes me happy - it brings back memories of the first Cabaret shows i used to create, composing songs, including bandmembers (band Nothing) - Adriaan Peltzer, Kotie Geldenhuis, Simon Kruger, Gerrie Roos, director Elmarie van der Lith, and we build CRAZY CRAZY INFLATABLE SETS, the one starting with me folded and rolled in a huge weather balloon, and only the sound of reversed vacuum cleaners blowing it up, so that it pops open and i emerge, sitting on top of the balloon, lighted in bright reds and pinks, with a huge white balloon skirt and corset top. a friend of mine lost the only video copy we had of the entire production. not a single photo, tho.

Jeffrey Shaw
«Movie Movie»
«This expanded cinema performance was specifically created for the Experimental Film Festival in Knokke-le-Zoute (Belgium 1997). It took place in the foyer of the festival building, with the audience sitting on the stairs and balcony. Three performers (Jeffrey Shaw, Theo Botschuijver, Sean Wellesley-Miller) dressed in white overalls first brought in the inflatable structure and unrolled it on the floor. Then it was gradually inflated while film slides and liquid-light show effects were projected onto its surface. The architectural form of this inflatable structure was a cone with an outer transparent membrane and an inner white surface. [...] In the intermediate space between transparent and white membrane various material actions were performed to materialize the projected images. This included the inflation of white balloons and tubes, and the injection of smoke.
The intention of this work was to transform the conventional flat cinema projection screen into a three-dimensional kinetic and architectonic space of visualization. The multiple projection surfaces allowed the images to materialize in many layers, and the bodies of the performers and then of the audience (many of whom spontaneously jumped in naked) became part of the cinematic spectacle.[...]
«MovieMovie» was also a complex and innovative acoustic eventstructure. The Musica Elettronica Viva was closeley involved in its scenography, creating an intense and loud density of electronic sounds that were interactively modulated by the musicians via a spatially distributed sound amplification system placed both outside and inside the inflatable structure.»

(source: Jeffrey Shaw – a user’s manual. From Expanded Cinema to Virtual Reality, Anne Marie Duguet/Heinrich Klotz/Peter Weibel (eds.), Ostfildern 1997, pp. 70f.)

Jan-Peter Sonntag 'Modern Minimal Disco'

2008-03-05T01:17:00.000-08:00

Jan-Peter E. R. Sonntag
«Modern Minimal Disco»
«With ‹modern minimal disco 4› the visitor has to step onto a steel pedestal placed centrally in the exhibition space in order to be able to put on the headphones. As an exposed viewer of the exhibition in the midst of the exhibition he acoustically dives into a paradoxical space of experience – a space that is continually and endlessly speeding up. Here the sub-frequency parts of the accellerating pulse, perceptible only as shock waves, are directly transmitted as vibrations via special headphones and pedestals to the listener. Who – now separated – becomes part of the work and as such is himself exhibited while observing.»

the liker

Archival Art - Arnold Dreyblatt

Frank Moore - art of a shaman

Casey Reas

Heartbeat and Orchestra

Derivative Touch Designer - what a treasure

more more links to b remembered

Alexander Kluge

THE DREAMMACHINE - BRION GYSAN

Marina Abramoic

Aleister Crowley

Elke Groen

Ikue Mori

Darlusz Kowalski

Mercea Cantor

Scott Pagano

Scott Pagano

Tahkashi Murakami

Takashi Murakami (b. 1963)

Jonas Dahlberg

From Biological Signals to Music

Pierre Huyghe - Anlee

surrealist minimalist design

more paper

wear paper

I Could Tell You But Then You Would Have to be Destroyed by Me: Emblems from the Pentagon's Black World (Hardcover) by Trevor Paglen (Author)

2001 Mark Hansen and Ben Rubin

Trevor Paglen

Applied Autonomy

pimpstar

The Ninth Bridgewater Treatise By Charles Babbage

Pattie Maes demos the Sixth Sense

http://www.youtube.com/watch?v=9wHFlxW606o

omar fast

spiritsurfers

http://www.michaelbellsmith.com/

yesmen

emily jacir

Surveillance Camera Players: 1984

Jill Magid

vito acconci

george miller and janet cardiff

jenny holzer

Christian Jankowski

gamestuff...

20 Questions

iGod

Joe McKay - Digital Art II

the evening class

Omar Fast “CNN”

Sean Uyehara

The Audible Past By Jonathan Sterne

The Aesthetics of Disappearance - Paul Virilio

A FOREST IN WINTER

SUNDANCE FILM FESTIVAL FORGETFULNESS BILLY COLLINS

GEORGE GENDI

Orgesticulanismus

MAGNETIC MOVIE

scary...........................!!!

Janine Antoni

Doug Aitken

Flickr

shunyata

remember (about squares)

NICOLA L.

albert camus

aphrodite

saint teresa of avila

feathered walls?

Manfred Mohr

Paul Sermon >

Dieter Schnebel

Baude Cordier

nebula

Synaesthesia Alexander Skrjabin

Battus, Pascal; Maad, Kamel

Graham Harwood

Jean Dupuy

Ulrike Gabriel

jitter selfportraits by botox