A sound and video installation where a computer program continuously changes between the different vocal incarnations of Woody Allen.
A Letter From Schoenberg: reading piece with player piano (2008) - Peter Ablinger with Winfried Ritsch
Text Rain (1999) by Camille Utterback and Romy Achituv
Known for her "physical-digital systems" that call attention to the body in an increasingly mediated culture, Camille Utterback has been awarded a MacArthur Fellowship. The artist describes Text Rains (1999) as "an interactive installation in which participants use the familiar instrument of their bodies, to do what seems magical—to lift and play with falling letters that do not really exist.".
When artist and curator Hilla Rebay hung Vasily Kandinsky’s paintings at the Museum of Non-Objective Painting, which she convinced her lover Solomon R. Guggenheim to open in the late 1920s, she created a sensual environment for them with colored walls, faint music, and perfumed air. It was an approximate construction of an inner, spiritual harmony unencumbered by reminders of nature, in keeping with the ideas of Kandinsky’s influential tract “Concerning the Spiritual in Art.” While multimedia updates of art from an older period risk becoming mere bells and whistles on a body of work that stands on its own merits, Kandinsky’s intense interest in synaesthesia—and his exhibition history with Guggenheim’s collection—make it seem like he might be sympathetic to opportunities for multiple sensory stimulation afforded by today’s data processing technologies. Perhaps that’s why Works & Process at the Guggenheim Museum commissioned an immersive light-and-sound piece from Rafael Lozano-Hemmer to mark the opening of the museum’s major Kandinsky retrospective, the first for the artist in more than twenty years. Levels of Nothingness, which Lozano-Hemmer developed in collaboration with philosopher Brian Massumi, takes its inspiration from Kandinsky’s 1912 essay “Yellow Sound.” The installation generates visuals from phonetic data produced by reading philosophical texts by Kandinsky and others. (At the performance, Isabella Rosselini will kick off the readings, and audience members will be encouraged to continue). Rather than translating one kind of information into another to spell out a neatly servable metaphor—as Lozano-Hemmer did, for example, with Pulse Park, which presented Madison Square Park as a living organism by animating it with lights activated by the heart rates of passers-by—Levels of Nothingness promises to be more meditative and fuzzy, suggesting the connection between thought and ...
MIT Press recently published Third Person, an essay collection that follows First Person and Second Person in a series exploring how new media has changed the roles of author and audience. Third Person declares its subject to be “vast narratives,” which editors Pat Harrigan and Noah Wardrip-Fruin define as cultural products that extend beyond the physical and temporal parameters usually associated with their medium. While most television detective shows devote one episode to one investigation, The Wire, for example, can stretch a case out over a season, and the continuity of characters and settings puts demands on a viewer’s memory that other shows rarely make. If the Harry Potter series of books is considered the authoritative source of that fictional world even after the release of the films, Lucasfilm delegates storytelling duties for Star Wars among books, movies, and animated series, and each addition extends the fictional universe in new directions in time and space. Vast narratives can also be generative frameworks that allow for many reconfigurations of the characters and settings over several instantiations, as in computer role-playing games and their pencil-and-paper counterparts like Dungeons & Dragons.
The following is an excerpt of an ongoing correspondence between Seth Price and Boško Blagojević.
SEP.12TH 2008, CURRENT GALLERY, BALTIMORE, MARYLAND. Special Thanks : Zach Genin, Neil Sangiri, Ingrid Burrington, Ann Kelly, Jaime Friedman, Scott Ache and Neal Reinalda
Digital Arts and New Media (DANM) Technical Coordinator