Liquid Villa depicts dreamlike states using a combination of architectural and abstract imagery. I refer to this work as "time-based painting", and employ a painterly sensibility and process to create images that transform over time.

Liquid Villa begins with a series of patterns in deep, aquatic tones overlaid with an intermittent glowing vertical stripe or ray. This imagery eventually disintegrates to a view across a pool of water in an imaginary villa. This structure is in turn subsumed by a pale fog. When the fog dissipates, the scene has been reconfigured back into an abstraction. The fog, the abstract imagery, and the architecture are protean, slowly mutating into one another or recombining to create a sense of instability and unease.

-- FROM THE ARTIST'S STATEMENT

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Excepter - Shots Ring (Carter Tutti Remix) from Georgia on Vimeo.

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First airing in 1969, Sesame Street was an innovation in educational television. In addition to producing its own live action sequences, the show reached into the worlds of film and animation and commissioned work from studios such as Jeff Hale's Imagination, Inc., John and Faith Hubley's Storyboard Films, and Jim Simon's Wantu Enterprises. The program also pioneered the use of early computer graphics from the Scanimate analog computer courtesy of Dolphin Productions in New York City. All of these elements combined to create some of the most adventurous and artistic children's programming ever shown on television. Here are some highlights:

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A year ago the Museum of Modern Art’s media galleries hosted “Looking at Music,” an exhibition of process-based work from the 1960s and 1970s that included music videos by pop icons like David Bowie and The Beatles (as well as cult favorites Captain Beefheart and Devo) amid works by Nam June Paik, Joan Jonas, and other avant-garde heroes. Caitlin Jones expanded on the inclusions and their mutual connections in a review on Rhizome; I also wrote about how it traced two paths in process art, which were exemplified by the music of John Cage and Steve Reich. Whatever a viewer brought to the show, it’s safe to say that everyone felt a thrill from the incongruity of watching Bowie’s Space Oddity in MoMA’s white boxes. The approach helped tear Cage, Paik, and their cohorts out of the textbook, and demonstrated that while ideas germinated in strongholds of the creative intellect like Darmstadt or E.A.T.’s “9 Evenings: Theatre & Engineering,” art did not exist in a vacuum. With “Looking at Music,” curator Barbara London set an agenda continued in an essay published in the March 2009 issue of Artforum, making a case for the study of music video in terms of process art in the late twentieth century.

Now “Looking at Music: Side 2,” on view through November 30, offers the flip side as it takes the exploration of the topic into the late 1970s and early ‘80s. If art-world favorites set the tone in last year’s exhibition, “Side 2” is dominated by album covers and concert posters. A sprawling mural of work by rock’n’roll photographer Bob Gruen overlooks a monitor showing a grainy video ...

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"You Suffer" is a song by the British grindcore band Napalm Death. The song has earned a place in the Guinness Book of Records as the shortest recorded song ever. It is precisely 1.316 seconds long and consists entirely of the lyrics "You suffer - but why?".

I timestretched this song with zero transposition and made it 10 times longer hoping to comprehend the lyrics "You suffer - but why?". The result is even more incomprehensible.

-- FROM THE ARTIST'S STATEMENT

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E*Rock "Asteroids (black version) from Audio Dregs Recordings on Vimeo.

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This essay originated from the anthology DATA browser 04: Creating Insecurity: art and culture in the age of security edited by Wolfgang Sützl and Geoff Cox. The book was published by Autonomedia this year and is licensed under Creative Commons.

Where does security end, and insecurity begin? Systems analysts recognise this as a classic boundary question. Its answer determines the precise deployment of any security system. But as we shall see, this particular boundary question cannot be answered under present conditions, except through the definition of a second system, a specifically interrogatory one. Drawing on the work of an American art critic of the 1960s, I’ll call this second kind of bounded entity an ‘aesthetic system’.

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