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→Katrina Boeming – I am telling you a story, home 1996-2006
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Quoted from [http://trustseoul.wordpress.com/trustartists/kim-beom/ TRUSTblog] | Quoted from [http://trustseoul.wordpress.com/trustartists/kim-beom/ TRUSTblog] | ||
== | Kim Beom's work ''Untitled (News)'' was shown at the 51st Biennale in Venice in 2005. | ||
==Katrina Boeming – ''I am telling you a story, home 1996-2006''== | |||
[[Image:Time Mutations - Katarina Boeming - I am telling you a story.jpg|thumb|right|Katarina Boeming – I am telling you a story, home 1996-2006]] | [[Image:Time Mutations - Katarina Boeming - I am telling you a story.jpg|thumb|right|Katarina Boeming – I am telling you a story, home 1996-2006]] | ||
Installation of hand Cut Tyvek and map pins | Installation of hand Cut Tyvek and map pins | ||
My perception of time and space was exercised and altered through memory in several long sittings during the creation of this map. During these sittings I literally cut my passageways through space and time from memory. I simply placed my knife at the starting point of a walk and visualized my movements as my tool traced my footsteps. What you see when looking at the piece is a fictional map of the five boroughs of New York City as they exist in my minds eye. | My perception of time and space was exercised and altered through memory in several long sittings during the creation of this map. During these sittings I literally cut my passageways through space and time from memory. I simply placed my knife at the starting point of a walk and visualized my movements as my tool traced my footsteps. What you see when looking at the piece is a fictional map of the five boroughs of New York City as they exist in my minds eye. | ||
[http://katrinaboemig.tumblr.com/ See artist's website] for more information | |||
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==Matthias Breuer – ''Reconstructing the Truth''== | ==[[Matthias Breuer]] – ''Reconstructing the Truth''== | ||
[[Image:Reconstructing the Truth.jpg|right|thumb|Matthias Breuer - Reconstructing the Truth]] | [[Image:Reconstructing the Truth.jpg|right|thumb|[[Matthias Breuer]] - Reconstructing the Truth]] | ||
Nowadays reality is a highly constructed body made up of many different ideas, desires and influences. The biggest reality-producing machine, the media with all its different distribution channels, confronts us with a huge colourfulmoving mass made up of countless pictures and sounds. The question about whether what we see is real or not is neither asked nor encouraged. The catchphrase of modernity is see it and believe it, critical discourse is never held. While in ancient times, following Plato's ideas, reality to some is the dancing of shadows on a cave wall, for us it is the interplay of many differently coloured pixels on flat surfaces. Screens are our viewfinders to the world. Our perception is created by artificial interfaces. The connection between reality and man is created by copper wires and silicon plates. A very fragile umbilical cord highly dependent on those who feed it thus holding the ultimate control. | Nowadays reality is a highly constructed body made up of many different ideas, desires and influences. The biggest reality-producing machine, the media with all its different distribution channels, confronts us with a huge colourfulmoving mass made up of countless pictures and sounds. The question about whether what we see is real or not is neither asked nor encouraged. The catchphrase of modernity is see it and believe it, critical discourse is never held. While in ancient times, following Plato's ideas, reality to some is the dancing of shadows on a cave wall, for us it is the interplay of many differently coloured pixels on flat surfaces. Screens are our viewfinders to the world. Our perception is created by artificial interfaces. The connection between reality and man is created by copper wires and silicon plates. A very fragile umbilical cord highly dependent on those who feed it thus holding the ultimate control. | ||
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''underactuation'' is a sculpture/installation that contrasts the measurement and display of time. The face of underactuation displays seconds, minutes, and hours through three horizontal windows. Time is displayed in a linear fashion -- the clock hands appear to move left and right. | ''underactuation'' is a sculpture/installation that contrasts the measurement and display of time. The face of underactuation displays seconds, minutes, and hours through three horizontal windows. Time is displayed in a linear fashion -- the clock hands appear to move left and right. | ||
The video projecting the inside of the steel housing reveals the circular motion of the clock mechanism contrasting with the linear display of the face: problematizing these two | The video projecting the inside of the steel housing reveals the circular motion of the clock mechanism contrasting with the linear display of the face: problematizing these two ''opposing'' ideologies/representations of time as concepts that reveal the potential multitudes of perspective/cosmology. | ||
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==Sofia Dona – ''Twinning Towns: Leipzig—Detroit''== | |||
[[Image:Time Mutations - Sofia Dona - Twinning Towns.jpg|thumb|right|Sofia Dona – Twinning Towns: Leipzig—Detroit]] | |||
The idea of the project was based on the concept of ''town twinning'' (sister cities) whereby towns or cities in geographically and politically distinct areas are paired. The ''town twinning'' concept was applied in the cities of Leipzig and Detroit by focusing on the issue of shrinkage and abandonment. Three examples of that connection were realised. | |||
For the first connection a split video was created, with two trombonists playing in two abandoned swimming pools, one in Leipzig and one in Detroit, in a way that the music of both trombonists creates a composition. | |||
The ''twinning towns: Leipzig -Detroit'' project consists of different actions that could be seen as actual actions and symbolical actions. Actual actions can be considered moving from one city to another, transporting, installing, removing, playing music, being involved in the city's life, exploring, finding materials and cooperating with musicians, craftsmen and art initiatives. On the other hand the symbolic action is the twinning, the attempt to transform, through the exchange of materials, buildings of Leipzig into buildings of Detroit and the other way around, transforming in a way the one city into the other. Although the actual action, of the specific installations or events, is visible only to a limited audience (the passers buy, the people involved in the project, etc) the symbolic action aims to the larger image and idea of the twinning of two cities, a wider concept opened up to a lot of questions on what the twinning of towns could mean. | |||
[http://sofiadona.gr/#3838265717 See artist's website] for more information | |||
==Angelica Piedrahita Delgado – ''VideoRed''== | ==Angelica Piedrahita Delgado – ''VideoRed''== | ||
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[http://www.videoredada.blogspot.com/p/time-mutations.html Visit artist's website] for more information | [http://www.videoredada.blogspot.com/p/time-mutations.html Visit artist's website] for more information | ||
==Carrie Kaser – ''Policy Makers''== | ==Carrie Kaser – ''Policy Makers''== | ||
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==Adam Laskowitz – Sound-Portrait== | ==Adam Laskowitz – ''Sound-Portrait''== | ||
[[Image:Time Mutations - Adam Laskowitz - Sound-Portrait.jpg|thumb|right|Adam Laskowitz – Sound-Portrait]] | |||
This work explores the temporal acoustics of the everyday soundscape. By fitting electronics inside of a hat, the wearer exposes themself to a recording of their daily sounds, creating a sound-portrait. The hat records 3 seconds of audio every 20 minutes, in a type of stop-motion fashion. While continuous recording would obviously pick up every sound which the wearer would experience, a disparate capture offers a dense experience of the everyday soundscape. This technique instills a feeling of cyclical temporality during playback. It is both environmental exploration and self-discovery. Leave the hat in one space and hear the cycles of a space, wear the hat for days, weeks, or years and hear the cycles of a life. | This work explores the temporal acoustics of the everyday soundscape. By fitting electronics inside of a hat, the wearer exposes themself to a recording of their daily sounds, creating a sound-portrait. The hat records 3 seconds of audio every 20 minutes, in a type of stop-motion fashion. While continuous recording would obviously pick up every sound which the wearer would experience, a disparate capture offers a dense experience of the everyday soundscape. This technique instills a feeling of cyclical temporality during playback. It is both environmental exploration and self-discovery. Leave the hat in one space and hear the cycles of a space, wear the hat for days, weeks, or years and hear the cycles of a life. | ||
[http://adamlaskowitz.com/ Visit artist's website] for more information | [http://adamlaskowitz.com/ Visit artist's website] for more information | ||
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==Carl Lee – ''Last house''== | ==Carl Lee – ''Last house''== | ||
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==[[Tommy Neuwirth]] – ''Untitled''== | ==[[Tommy Neuwirth]] – ''Untitled''== | ||
[[Image:Time Mutations - Tommy Neuwirth - Untitled.jpg|thumb|right|[[Tommy Neuwirth]] – Untitled.jpg]] | |||
freedom<br /> | |||
"Background images started disappearing when logged in" "Icons started disappearing from Word tool bar" "Paragraphs suddenly started disappearing" "Have '90s songs started disappearing from the radio?" "My eyebrows have suddenly started disappearing." | |||
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==Scott Ries – ''Aceeeh ino rrssstUv''== | ==Scott Ries – ''Aceeeh ino rrssstUv''== | ||
Taking the complete Beatles discography as one track arranged in chronological order (that in which they were released), I divide it into 0.1 sec segments (long enough not to produce a consistent tone, short enough to elude recognition), and then arrange those segments in order of their total energy over each of the 0.1 sec segments, from the least to the most. Each segment's first sample is zeroed at the previous segment's last sample, and the absolute value of its energy pointed towards zero. In other words, I rearrange the familiar Beatles chronology into barely recognizable segments following an entirely different chronology, that of the universe (from least energy to most, or from order to chaos), and point it, futilely, toward equilibrium. The complete track is then re-divided into the exact lengths of each album and track, and is released in the same chronology as were the correspondingly-long Beatles' albums (but could be played in its entirety and transferred easily online for an installation). | Taking the complete Beatles discography as one track arranged in chronological order (that in which they were released), I divide it into 0.1 sec segments (long enough not to produce a consistent tone, short enough to elude recognition), and then arrange those segments in order of their total energy over each of the 0.1 sec segments, from the least to the most. Each segment's first sample is zeroed at the previous segment's last sample, and the absolute value of its energy pointed towards zero. In other words, I rearrange the familiar Beatles chronology into barely recognizable segments following an entirely different chronology, that of the universe (from least energy to most, or from order to chaos), and point it, futilely, toward equilibrium. The complete track is then re-divided into the exact lengths of each album and track, and is released in the same chronology as were the correspondingly-long Beatles' albums (but could be played in its entirety and transferred easily online for an installation). | ||
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==Stephanie Rothenberg – ''School of Perpetual Training''== | ==Stephanie Rothenberg – ''School of Perpetual Training''== | ||
[[Image:Time Mutations - Stephanie Rothenberg - Perpetual.jpg|thumb|right|Stephanie Rothenberg - School of Perpetual Training]] | [[Image:Time Mutations - Stephanie Rothenberg - Perpetual.jpg|thumb|right|Stephanie Rothenberg - School of Perpetual Training]] | ||
School of Perpetual Training is an ironic instructional training program that exposes the underbelly and not so glamorous side of the computer video game industry. Most people associate jobs in the computer video game industry with information-based labor such as 3D graphics and coding game programs. Yet the majority of the industry relies on the sweat and stamina of migrant and low-income laborers working for electronics contract manufacturers in developing countries. | ''School of Perpetual Training'' is an ironic instructional training program that exposes the underbelly and not so glamorous side of the computer video game industry. Most people associate jobs in the computer video game industry with information-based labor such as 3D graphics and coding game programs. Yet the majority of the industry relies on the sweat and stamina of migrant and low-income laborers working for electronics contract manufacturers in developing countries. | ||
By following a series of training exercises, participants learn about the precarious employment and unjust labor conditions of workers in the areas of overseas digital game manufacturing and distribution. A virtual ''personal trainer'' created in Second Life leads participants through a series of training exercises that use motion detection and require full range of body motion to play. Rather than using a mouse or joystick, the motion detection demands the participants ''labor'' to complete the training exercises, emphasizing the extreme physical nature and motion economics of these jobs. The individual training exercises recontextualize popular classic arcade games – Dig Dug, Tapper, Space Invaders and Tetris – in order to ''train'' participants for jobs in mineral mining, printed circuit board assembly, box build and global shipping. At the end of the training program, participants can gauge their ''global market value'' to find out how much they are ''worth'' in contrast to white-collar workers in the industry and game company profits. | By following a series of training exercises, participants learn about the precarious employment and unjust labor conditions of workers in the areas of overseas digital game manufacturing and distribution. A virtual ''personal trainer'' created in Second Life leads participants through a series of training exercises that use motion detection and require full range of body motion to play. Rather than using a mouse or joystick, the motion detection demands the participants ''labor'' to complete the training exercises, emphasizing the extreme physical nature and motion economics of these jobs. The individual training exercises recontextualize popular classic arcade games – Dig Dug, Tapper, Space Invaders and Tetris – in order to ''train'' participants for jobs in mineral mining, printed circuit board assembly, box build and global shipping. At the end of the training program, participants can gauge their ''global market value'' to find out how much they are ''worth'' in contrast to white-collar workers in the industry and game company profits. | ||
[http://www.perpetualtraining.com Try the project online] | [http://www.perpetualtraining.com Try the project online] | ||
==Gabriel Shalom – ''wash choose peel chop rinse''== | |||
[[Image:Time Mutations - Gabriel Shalom - wash choose peel chop rinse.jpg|thumb|right|Gabriel Shalom – wash choose peel chop rinse]] | |||
In the five movements which make up wash choose peel chop rinse, different stages of the process of making vegetable soup stock are examined in microcinematic detail. Rhythmic audiovisual compositions are revealed in the most mundane and subtle aspects of the preparation of various different vegetables. This video was premiered at the opening ceremony of Transmediale 2011, Berlin. | |||
Gabriel Shalom is a videomusician, hypercubist and audiovisual artist living and working in Berlin, Germany. His signature work takes the form of rhythmically edited audiovisual compositions. He has been an artist in residence at the ZKM | Karlsruhe. He is the co-founder, together with [http://pavako.com/ Patrizia Kommerell], of [http://ks12.net/ KS12], a creative studio which produces original transmedia narratives. He has been a guest speaker on audiovisual trends in London, Berlin and São Paulo, and since Spring 2009 he is adjunct faculty at the Berliner Technische Kunsthochschule where he lectures on [http://analogmotiongraphics.com/ analog motion graphics] and experimental film and video. He is a contributor to opinion-leading blogs on the [http://quantumcinema.blogspot.com/ future of cinema] and [http://arsvirtuafoundation.org/research/ augmented reality]. | |||
[http://www.gabrielshalom.com See artist's website] for more information | |||