1,291
edits
→Katrina Boeming – I am telling you a story, home 1996-2006
| (17 intermediate revisions by the same user not shown) | |||
| Line 16: | Line 16: | ||
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 | |||
<br clear="both" /> | <br clear="both" /> | ||
==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. | ||
| Line 37: | Line 41: | ||
''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. | ||
<br clear="both" /> | |||
==Sofia Dona – ''Twinning Towns: Leipzig—Detroit''== | ==Sofia Dona – ''Twinning Towns: Leipzig—Detroit''== | ||
[[Image:Time Mutations - Sofia Dona - Twinning Towns.jpg|thumb|right|Sofia Dona – Twinning Towns: Leipzig—Detroit]] | [[Image:Time Mutations - Sofia Dona - Twinning Towns.jpg|thumb|right|Sofia Dona – Twinning Towns: Leipzig—Detroit]] | ||
| Line 49: | Line 53: | ||
[http://sofiadona.gr/#3838265717 See artist's website] for more information | [http://sofiadona.gr/#3838265717 See artist's website] for more information | ||
==Angelica Piedrahita Delgado – ''VideoRed''== | |||
[[Image:Time Mutations - Angelica Piedrahita Delgado - VideoRed.jpg|thumb|right|Angelica Piedrahita Delgado – VideoRed]] | |||
[http://www.videored.org ''VideoRed''] is the product of an investigation that seeks the development of a technological device on the internet that invites users to participate with short videos of no more than 15 seconds, that joined together build a video made of fragments as an exquisite corpse. | |||
Video = Vidē = first person of verb see in Latin; linguistic trace that points, since its origins,to the relationship of media to the individual. Video as a subjective practice that on the internet sinks in a totalizing blanket of standardized similarities. Although the differences are complex, when analyzing ''the individual'' as a body that sees in a timeframe within a certain discourse. Narrative and aesthetics practices that cannot be seen outside a unique perception shaped by body, time, and space. | |||
In VideoRed the audiovisual rhetorical figures are connected to each other in the most complex and, at the same time, basic way. A video network apparently connected through a mobile and ambiguous semiotic association, potentially interpreted as a group of empty pieces in search for meaning. Maybe, this is just an associative machine, an ode to interactivity and meaningless playfulness. However, the project focuses on dialogism, as a discourse modality that allows an active sharing of ideas; that can or cant be positioned as structured or vague entities. VideoRed contains videos as microstructures that defeats hermeneutics as others captivated by rhetorical figures. | |||
Beyond defining a true nature of video image, VideoRed intends to allocate video production and interpretation on individuals. Fragmenting, dissecting,connecting, framing, zooming, panning, borrowing and editing are practices that belong to a person that see how understand and understand how perceive. Video is a technological artifact and at the same time is a way to approach and act in front of and object, subject or topic. That is why this project, rather than concentrating its efforts on a technical machine builds its means in gatherings, workshops and communities. Allowing getting closer to other people through video production. Seeing these productions as presence of and author apparently absent but with a strong formal presence, revealing his eye, discourse and body operating the technological artifact. | |||
VideoRed invites to participate in the production of video responses of 15 seconds each. This project is a technological device as a pedagogical practice, product of a research project form Javeriana Univerity at Bogota Colombia. | |||
Since 2009 the group has been organizing gatherings and workshops with people interested on video, that join the project setting rhetorical games and aesthetic explorations. | |||
[http://www.videoredada.blogspot.com/p/time-mutations.html Visit artist's website] for more information | |||
==Carrie Kaser – ''Policy Makers''== | ==Carrie Kaser – ''Policy Makers''== | ||
| Line 59: | Line 79: | ||
<br clear="both" /> | <br clear="both" /> | ||
==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 | ||
<br clear="both" /> | |||
==Carl Lee – ''Last house''== | ==Carl Lee – ''Last house''== | ||
| Line 85: | Line 107: | ||
==[[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." | |||
<br clear="both" /> | |||
==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). | ||
| Line 90: | Line 117: | ||
==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 | |||