All those present at Cincinnati-based project space CS13 on Saturday, December 11th, participated in redubbing an excerpt of Jurassic Park. This included foley effects, an improvisational score, as well as dialogue. This is the result.
Shana Moulton and Nick Hallett's epic multimedia one-act opera Whispering Pines 10 will run at the New Museum on Saturday and Sunday, January 8 and 9, 2011. If you missed the performance of this piece at the Kitchen last Spring, now is your second chance to see the show! Read more about Whispering Pines 10 below, and be sure to pick up your tickets early through the New Museum site.
Note: We ran a short essay in Rhizome News by Brian Droitcour on Moulton's series Whispering Pines when the opera debuted, check it out.
Whispering Pines 10 is a one-act opera by artist Shana Moulton in collaboration with composer Nick Hallett, and featuring vocalist Daisy Press. It features a live performance by Moulton as her alter ego Cynthia, a hypochondriac agoraphobe prone to colorful hallucinations and absurd fantasies. While Cynthia seeks health and total happiness within her virtual environment—an interactive video set that utilizes real-time multimedia techniques its creators call “live animation”—she usually settles for fad cures and new-age kitsch, creating situations in turn comic, contemplative, and surreal.
Whispering Pines is the celebrated video serial created by Moulton in 2002 that has previously spawned nine episodes, along with related performances, videos, and gallery installations. Whispering Pines 10—the latest installment—is an innovative performance hybrid that incorporates elements of traditional opera into contemporary video and performance art. Its premise—a woman alone in her private environment, aided by technology—enables a flexible sensibility wherein popular and experimental forms can mingle. The original music and libretto composed by Hallett takes advantage of the narrative’s dream logic to weave what is essentially a pop music vocabulary into an experimental idiom, enabling a virtuosic exploration of the human voice. As the protagonist does not effectively speak, the sounds ...
Ultra-red is an activist art group founded in 1994. The group proposes an alternate model for art and activism, one in which it is not the artist's critical intervention that serves as the source of cultural action, but rather that art might contribute to and challenge the process of collective organization and relationship building itself.
Records kept from Lance Wakeling's computer using Sic from September 2006
As we type and edit our attention jumps from paragraph to paragraph and from program to program, leaving a trail of disconnected phrases and commands. Much of what we type is deleted before the final product is saved, but the data have not dissapeared. Sic is the record kept by a keylogger installed on my computer. Since the keylogger records every key pressed, the data contain information best kept private, but the range of information is so great and cluttered with such noise it remains impenetrable. Sic is ongoing and chronological—it is a strict, linear record of non-linear processes. From a step back, the many colored key-commands and black phrases of text illustrate an abstract and personal topography of thoughts and actions. The illusion of Sic is that everything is displayed, but the reality is that without the final products of the labor to compare, the record will always be incomplete, and will remain pieces whose sum is less than the sum of the whole.
VOICE: Vocal Aesthetics in Digital Arts and Media, a new anthology edited by Norie Neumark, Ross Gibson and Theo Van Leeuwen from MIT Press, takes stock of the voice’s various transformations in the arts in the wake of the technological innovations of the digital age, and the ways in which artists anticipated these changes. One might expect musings on Barthes, man vs. machine, hauntology, linguistics or body politics, and those are all here; but there is also a refreshing and suitably wide-ranging cross-section of pop cultural examples and namechecks (Wolfman Jack, Portishead, Winnie the Pooh, BioShock, Meshuggah). Beyond its interdisciplinary parameters, the more theory-oriented papers are counterbalanced by an experimental essay (Theresa M. Senft’s “Four Rooms”, which juxtaposes phone sex, cancer care tapes, a voice recognition program, and Alvin Lucier’s “I Am Sitting in a Room”), a poem (Mark Amerika’s “Professor VJ’s Big Blog Mashup”), and a meditation (Michael Taussig’s “Humming”). The multiplicity of forms and inclusion of writerly as well as scholarly voices create an appropriately reflexive resonance.
Jeremy Bailey is a Toronto-based new media artist whose work explores custom software in a performative context. Powered by humor and computer vision, his work wryly critiques the uneasy relationship between technology and the body while playfully engaging the protocols of digital media. Over the last decade Bailey has exhibited and performed at a range of international festivals and venues including the 2010 01SJ Biennial, HTTP Gallery, Subtle Technologies and in 2001 he co-founded the (now defunct) 640 480 Video Collective. I conducted the following interview with Bailey over email and we used our conversation to delve into a number of his projects from the last five years.
Photos above from the Storefront for Art and Architecture's inaugural show Performance A-Z in 1982
Thanks to iheartphotograph, I just discovered the online archive of downtown non-profit art space the Storefront for Art and Architecture. Founded in 1982, their programming examines the intersections between architecture, design and art. The archive provides press releases from previous exhibitions and scans of printed documents from those shows, as well as photo documentation. Very cool!
In the following page I attempt to discover how people around the world are using the largest social media website, Facebook, as subject in song. In this collection I pull videos from YouTube users of many cultures and nationalities who are preforming songs which deal with Facebook - in doing this, I find points of continuity which will be addressed bellow.