Dimensions pulls together video from numerous geographies, recorded at various angles. This method was chosen not only to explore the hyperactive quality with which we are able to experience cultures in situ virtual – an overload of the still distant – but also to study direction and distance in relation to sound. After isolating and cataloging the geometric image- and sound-features inherent to each video submitted, those geometric a/v attributes were then separated and paired with a different video from the pool, comprised of their spatiotemporal opposites. So for example, if the visual content in one piece of footage was moving toward the right, and the sound content centered, or perceptually stationary, then those sounds were placed into footage that was perceptually moving either to the left, or inward in three-dimensional space; while sounds from another video heard as moving outward, or to the left, were placed in that visual content perceived as moving to the right. This same procedure was then repeated on the frame attributes and visual content itself, in each video, so that no two adjacent images would move in the same direction, or at the same speed. In so doing, the aim of Dimensions – as a whole – became in specific an attempt at fracturing the accustomed, evolved, psychophysical links between audition and sight, if only to make available for perception just what that accustomedness is in us, and so open up a channel for further investigation into how we might widen our receptors on our own terms.
- Year Created: 2012
- Submitted to ArtBase: Friday Feb 21st, 2014
- Original Url: http://joshualiebowitz.com/videos/show/Dimensions
- joshua liebowitz, primary creator
- danny powell, contributor
- kevin lustrup, contributor
- guillermo munro colosio, contributor
- courtney penzato, contributor
- jono tosch, contributor
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I work in multiple mediums. Largely with sound, video and emerging technologies that I then house in digital and new media. These works are investigations into physical and social space. As such my practice is by desire and necessity often informed by research, collaboration, and experiment.
Every piece I make and in whatever medium it resides stems from my belief in art as a physiological means to experiencing ourselves and our surroundings. What do I mean by this?
That at the core of any sound or image is space. A space comprised of frequencies in movement and proximity. Band them together; call that a spectrum; put the sounds and images back together again. But broken apart, movement and proximity become materials themselves. More accurately, space itself becomes work material. Malleable and dislocatable, the stuff of “reality” becomes hearable, visible. Felt. Our ability to perceive, our humanness, it is felt. Far from being restricted to the domain of symbols and representation, a work has the ability to manifest itself in the very bloodstream and brainstem of any would be participant.
Just as crucial, space, the work, it is participatory. A physical participation of viewing and listening; a willed attention. An attention that triggers the sensuous that in turn triggers attention – both during and after the work’s construction. Through participation artist and audience are bonded. Intellect and emotion are integrated. This integration is like no other intimacy.
No masks. No hyperbole. Only the physiological.