This coming Wednesday at The New School, German artist Christian Jankowski will give a talk on his career and work at 6:30pm in the Tishman Auditorium. (Students get in for free, so be sure to bring your student IDs!) Jankowski works in a variety of media, including video, installation, photography, performance, and sculpture, often engaging aspects of his personal life as his subject matter. In 1997, for a piece called Let's get physical/digital, Jankowski and his girlfriend Una, he in Stockholm and she in Milan, set up a chat room on the web where they met daily. These instant-message exchanges were then translated into German and Swedish, and given to seven pairs of actors, who played out the two roles in a series of vignettes that were videotaped, subtitled in English, and broadcast on the Web. Exhibiting the playful humor more typical of Jankowski’s pieces is Telemistica (1999), created for the 1999 Venice Biennale and now on view in the exhibition Broadcast at Pratt Manhattan Gallery. For this piece, the artist phoned Italian psychics on their live television shows and asked them questions about his artwork, such as how it would fare at the Biennale. Jankowski's stilted and awkward conversations with psychics in his non-native Italian jokingly mock artistic inspiration and success. Jankowski’s work is also currently on view at the Doris C. Freedman Plaza in Central Park, where a trio of life-sized, bronze figures, titled Living Sculptures: Caesar, Dali Woman, El Che are positioned just outside the Park’s entrance. The figures are modeled after three professional street performers the artist observed in Barcelona presenting themselves as ...

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This ongoing series explores significant developments on the internet, like this new hot thing called twitter that everyone's been talking about. We've culled the, uh, "twitterverse" to bring you some of the more curious and unique accounts out there (plus a few entertaining twitter spin-offs). Feel free to add links or suggestions in the comments section.

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The date is February 9, 1972, and Chris Burden arrives at Channel 3 Cablevision’s studio in Irvine, California, for an interview with Phyllis Lutjeans. The TV station had approached Burden in January and asked him to do a piece for the channel, yet they censored several of his proposals, so he eventually agreed to an interview during which they would discuss the reasons for the station’s refusal of his ideas. Burden brings his own video crew so that he can have a copy of the interview. He requests that the interview be broadcast live, and during the course of the interview Lutjeans asks Burden to discuss a few pieces that he has thought of doing. The artist responds by demonstrating a TV hijack: he takes Lutjeans hostage, holding a knife to her throat and threatening her life if the station stops transmission, while verbally abusing her with threats. At the end of the recording, Burden destroys the station’s tape of the show by dousing it with acetone. He then offers an “irate” station manager his taped version of the show, which includes footage of the show and the destruction of the station’s tape, but the manager refuses. Burden explains in an interview, “T.V. Hijack was ultimately about who is in control over what's presented through the media.” This aggressive act against the restrictive and one-to-many structure of television is what curator Irene Hofmann cites as her original inspiration for the exhibition "Broadcast," now on view at Pratt Manhattan Gallery. The show presents a selection of works, dating from the 1960s to the present, that interrupt broadcasting systems in order to examine or challenge the structure, influence, and power of mainstream television and radio.

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Apply for an AIRtime fellowship from free103point9! Fellows receive funding, resources and equipment to produce transmission-based artworks. Deadline is July 1, 2009. Read more below:

The AIRtime program provides artists (individuals and/or collectives) with valuable assistance with which to concentrate on new transmission works and conduct research about the genre using free103point9's resource library and equipment holdings. AIRtime Fellowships are awarded to approximately three artists each year. Fellows present their work in conjunction with WGXC, in Greene and Columbia Counties, and our city-based programs at the Ontological Theater at St. Mark's Church in Manhattan. Fellows receive an honorarium, and technical and administrative support from free103point9 staff. Participating artists are encouraged to archive recordings and other digital media with the free103point9 Transmission Art Archive project.

free103point9 defines “Transmission Arts” as a conceptual umbrella that unites a community of artists and audiences interested in transmission ideas and tools. This genre encompasses a diversity of practices and media working with the idea of transmission or the physical properties of the electromagnetic spectrum. Transmission art is generally a participatory live-art or time-based art, and often manifests as radio art, video art, light sculpture, installation, and performance.

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Last weekend the Kitchen hosted two night of performances by Matmos, So Percussion and PLOrk, the Princeton Laptop Orchestra. In addition to playing the conventional array of instruments, So Percussion exploits the unnoticed sonic properties of everyday objects -- Friday’s program began with their Cactus Song, in which the ensemble’s members huddled around a miked squash, stuck it with resonant tines, and plucked it like a karimba. So Percussion’s pairing with PLOrk highlighted the latter’s treatment of computers as objects. Technology from the phonograph to the sampler and beyond has been used to disembody sound, but PLOrk is among the growing ranks of electronic musicians who adapt gadgets to fix sound production in its physical context. They make laptops behave less like mixing machines and more like percussive instruments.

PLOrk uses hemispherical speakers that localizes the sound rather than mixing all the input into a single system, to give each computer an individual voice, like instruments in a symphony. (They also look awesome.) The ensemble’s members write software that connect each action to a result in order to make playing the laptop more like hitting the keys of a piano, so they’re not just dragging a cursor to manipulate parameters in a window. Another favorite PLOrk device is hacking the Mac’s motion sensor and connecting it to a sampler, so that swinging the laptop creates the illusion that a musician is grabbing sonorities from the ether and throwing them across the stage. The orchestra made effective use of that technique in Supreme Balloon, a Matmos piece that began with drones and transitioned to a tuneful idyll as the accompanying video shifted ...

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In 1965, multimedia artist Stan VanDerBeek wrote that "language and cultural-semantics are as explosive as nuclear energy. It is imperative that we (the world's artists) invent a new...non-verbal international picture-language"¹. He foresaw that future “image-making” technologies would be needed to develop a new “picture-language” to communicate to all people the threat of global annihilation. I believe that psychedelic light shows originating on the U.S. West Coast in the 1950s were part of the beginnings of this rapidly developing world language that is now more evident with newer digital media technologies. Along with other counterculture activities such as taking hallucinogenic drugs, light shows evolved as a means of connecting people and helping raise individual and collective consciousness outside the mass media spaces of TV, cinema, and radio. They were among the first primitive attempts by artists to appropriate many of the “new” analogue communications media technologies - photography, film, audio - and add the images, beat and lyrics of popular culture and music to create an immersive mediated environment embracing both the performers and the audience in a transformative sensorial experience.

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fromjodi
toceci.moss
dateThu, Apr 2, 2009 at 3:07 AM
subjectdodo ¿ǝɯozıɥɹ ɹoɟ ʍǝıʌɹǝʇuı :ǝɹ

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