Glasser performed on Late Night with Jimmy Fallon on Monday. If you watch the video above, you'll notice the QR codes circling the stage. The QR code was designed by Kyuha Shim. He built a system using programming language that receives color data sets from Glasser's album graphics and adapted them to the modules that he designed. The QR code also leads viewers with mobile devices to "zones" designed by artist Mitch Trale's web production company, which you can access here. (Christopher P. Allick, Trevor Giller and Pablo Rochat contributed to the technical and creative direction for the website.) I've posted Mitch Trale's past websites-as-interactive-music-videos to Rhizome before, such as New Stripes (2009) as well as the epic Open Seas (2010). The use of QR codes during Glasser's set is a really interesting translation of this idea to a live performance context, and I thought it was very cool.
The weird and fantastic world of New York's public access television will receive the attention it deserves in a film program curated by Leah Churner and Nicolas Rapold for the Museum of the Moving Image. The program, titled TV Party: A Panorama of Public Access Television in New York City kicks off tonight, and will run until February 20th. Spanning the past four decades, screenings will include shows such as The Scott and Gary Show, Wild Record Collection, The Live! Show, Glenn O' Brien's TV Party, The Vole Show, and more! Check the trailer below.
Every day an incomprehensible number of new digital media files are uploaded to hosting sites across the internet. Far too many for any one person to consume. Infinite Glitch is a stream-of-conciousness representation of this overwhelming flood of media, its fractured and degraded sounds and images reflecting how little we as an audience are able to retain from this daily barrage.
Infinite Glitch is an automated system that generates an ever-changing audio/video stream from the constantly increasing mass of media files freely available on the web. Source audio and video files are ripped from a variety of popular media hosting sites, torn apart, and recombined using collage and glitch techniques to create an organic, chaotic flood of sensory input.
-- FROM THE ARTIST'S STATEMENT
Nam June Paik (1932 - 2006) is an artist fabled for what he has achieved, as the instigator of video art, the pioneer of media art and through his influence on the indebted MTV generation. It's as if his career is almost made for the retrospective exhibition. His work is bound to his legacy, and his influence is hard to encompass. The importance of this legacy asks two parallel questions, how to preserve, present and document but also how to react, trace and respond. Both are targeted through a new joint exhibition of Paik's work at Tate Liverpool and FACT (Foundation for Art and Creative Technology), the first major retrospective of his work since his death in 2006 and the first exhibition of his work in the UK since 1988.
Tate presents a comprehensive chronicle of Paik's movements through the avant-garde, in performance, composition, television and sculpture. There are TV sets, robots and Buddhas, mixed with historical documentation, vitrines filled with exhibition programs, posters and photographs and timelines drawn on walls, which denote his many collaborators and read like a roll call of the most influential artists of the 20th century - John Cage, Karlheinz Stockhausen, Joseph Beuys and Merce Cunningham.
In contrast to the Tate, where you can look and listen with historical meticulousness, at FACT you are given a remote control. Here you are encouraged to relax, in an archive lounge, and browse a collection of his video works at leisure. Or lie back underneath Laser Cone (1998) and be dazzled.
Backdrops and sets used in the Televisa studios in Mexico City for use in telenovelas. From the photo series "The Factory of Dreams" which documents the production of telenovelas.
Demo video of the Paik Raster Manipulation Unit or Wobbulator, an example of Paik's "prepared television" which distorts broadcast signals or, if used as a monitor, images from a live or prerecorded source. Experimental Television Center provides a lengthy description and diagrams for building a Wobbulator, here.
I came across these videos via WMMNA. These talks were taped during the symposium The Documentary Real which occurred on October 21, 2010 at Domzaal, Art Centre Vooruit. The event invited artists and theorists to "interrogate the ambiguous relation between documentary film and reality." I've only had a chance to review the two Gregos and Bruzzi clips posted below, which both emphasize the changing notion of the "real" within a heterogeneous media landscape, especially with the advent of the internet. All the talks are available on the site, here.
It has been a number of years that the so-called ‘documentary turn’ has become a frequent phenomenon in many artists’ films. The talk will be a comparative look into recent documentary practices that diverge from the orthodoxy of documentary as ‘factual’ film’, a notion which contemporary artists have repeatedly challenged of late. These artists working from a documentary point of departure use multiple strategies to reveal known or hidden ‘truths’, sometimes weaving fictional elements into their stories. Many of them demonstrate that ‘truth value’ does not lie in mere representation but may emerge even more forceful through artistic abstraction, translation, filtering and interpretation and that nowadays the borderline between documentary and fiction, or reality and fantasy is often becoming hard to distinguish. The talk aims to illustrate that the notion of the ‘documentary real’ is continuously evolving and cannot now be pinned down to a single definition or delineated through specific boundaries. Indeed it aims to show that some of the most interesting documentary practices are those which I call documentary ‘with a twist’, i.e. films that interweave the political with the poetic, and navigate between different filmic categories to arrive at highly individualistic hybrid documentary forms where the notion of realism is in ...