Golan Levin

Scrapple (2005: Golan Levin) is an audiovisual installation in which everyday objects placed on a table are interpreted as sound-producing marks in an “active score.” The Scrapple system scans a table surface as if it were a kind of music notation, producing music in real-time from any objects lying there. The installation makes use of a variety of playful forms; in particular, long flexible curves allow for the creation of variable melodies, while an assemblage of cloth shapes, small objects and wind-up toys yields ever-changing rhythms. Video projections on the Scrapple table transform the surface into a simple augmented reality, in which the objects placed by users are elaborated through luminous and explanatory graphics. The 3-meter long table produces a 4-second audio loop, allowing participants to experiment freely with tangible, interactive audiovisual composition. In the Scrapple installation, the table is the score.

Source: http://www.flong.com/projects/scrapple/

Olga Mink

Working in the fields of new media, live performance, video- and interactive art, I explore new possibilities in digital representation. With a strong emphasis to conceptual approaches, my work crosses boundaries between music, photography, architecture, poetry, nature, public spaces, engaged themes. Creating immersive and physical representations in digital media, my work examines the tension between [intangible] media and the spatiotemporal coherence. Collaborations with various musicians, artists, engineers, architects are important aspects. Next to my work as an artist I curate new media and audiovisual events, such as ImageRadio, State of the Image, and Plazaplus at Plaza Futura.

The installation Ballet Mechanique (2001) explores the idea of physicality in the virtual (projected) environment. By re-arranging and composing sequences of the body into new forms, a new experience of time and space was created. By use of rectangular screens and threedimensional projections, a multi-screen visual surrounding was created. Examinations within media, technology and the digital, has lead to diverse projects such as Video_matic. In 2003, I have been commisioned to develope a permanent interactive video-installation for a new building. This was developed in collaboration with the architects, and is fully integrated with the architectural aesthetics of the building. Video-matic explores networked media in a public environment, by use of interactivity with a touchscreen inside the building and an online application on the dedicated website video-matic.nl. Live performances have developed in style and content over the years. The use of customised projection possibilities is an important aspect in my performance. Work has been released on labels internationally, such as NoTV, Triggermotion, Bip-Hop, Steamingsounds and Lightrhythmvisuals Collaborations have been accompished with artists and musicans worldwide. A project with musician Scanner is currently being developed. The nature of being is a live cinema performance. It's an interchange between artists charting a conversational movement of colour, music, texture and image. It is a travelogue of invention, taking the romance of the cosmos through a metaphysical adventure, presented in a multi-screen environment. Urban Nature (2006) is a collaborative project based upon atmospheric electronic music with jazzy electronic improvisations by Vloeimans and Banabila. Screened at Tate Brittain, London, and Sonar in Spain, amongst others. Explorations outside the "digital screen", was realised with Lightsc00p installation. This uses Infrared technology, LED and sensory devices. It's currently exposed at Plaza Futura, Eindhoven.




Source: http://www.videology.nu/

KATE GILMORE

MARCH 28, 2010 The Whitney Biennial


The artist I spent the most time observing at the Whitney Museum was Kate Gilmore. From other research I discovered that she has done many other videos and obstacle-like artwork. Most of her artwork has to deal with her place in society as a woman and as an artist.
The piece by Kate Gilmore, Standing Here was the artwork when she had a large, tall box structure in a room and she climbed into it and then tried to climb out. When watching the video, I felt very enclosed myself. Seeing anyone trying to climb out of a tall box-like form and with the camera looking down, makes me feel like I should be helping, but I feel helpless. Seeing her in a dress and shoes climbing, kicking, and punching the walls was a little odd at first. When looking more at the concept, it seems clear that she is struggling for or from something.
When researching more about the artwork Standing Here, the piece was about the struggle women have in everyday life. Symbolism from the dress and shoes, gave that notion away. For myself, Standing Here emphasized the power of women, no matter what kind of struggle they are in, they will fight to get out. Like her other works, she shows a great deal of identity through meaning and material.

Jeffrey Shaw

Interactive Cinema

"there is a dialectical relationship between technological progress and the re-invention of the narrative - with new technological possibilities, we can create new ways (and logics!) of story-telling. The viewer becomes a physical participant in the cinematic space. He showed a very nice example of a big white pillow-like sculpture that served as a projection screen while visitors could jump all over it (unfortunately he didn’t mention where and when it took place). Another example is his own work ConFIGURING the Cave (1996), a cave-installation with a wooden doll in the middle that serves as an interface to render the virtual environment projected into the cave. By moving the doll or parts of the doll’s body, the projected virtual world changes. There are a total of 7 different virtual environments in the work. The projection is all around you, on all walls, the ceiling, the floor, and gives you a feeling of total immersion. It becomes an all-surrounding, all enclosing cinematic space. This feeling of immersion is even strengthened because you are actually physically involved in the work."



"A 120-square metre circular screen surrounds the audience and provides the environment for an wholly ‘immersive’ three-dimensional cinematic experiences. AVIE allows audiences to wander at will through the projection space without having to sit in a fixed location as in a conventional cinema, interacting with the projected information as if they are really there. Viewers wearing three-dimensional glasses step inside a cylindrical cinema screen measuring four metres high and 10 metres in diameter. Twelve digital projectors create a high-resolution stereoscopic 3D image on this screen, and the audio is spatially enhanced via a 24- channel surround sound system. (…) Over three hundred video clips are simultaneously displayed and distributed around AVIE’s huge circular screen. Using a special interface the viewer can select, sort, re-arrange and link these video clips. These move about and play themselves in a virtual all-surrounding three-dimensional space that provides the viewer with an engrossing density and intensity of ever changing narrative events.”"


http://www.movingweb.org/2008/02/28/sonic-acts-xii-conference-report/

Keith Sonnier

Positive-Negative
1970
b&w, 12 min. silent

"Positive-Negative was made in the video studio of the Medical Studio at the University of California, San Diego, and projected during alive performance in the Art Department there. It was the first tape Sonnier shot in a television studio with the help of technicians and elaborate mixing equipment. Two large studio cameras and one-inch tape were used, and the lighting and technical facilities available mitigated the need for objects whichin the earlier situational tapes ad functioned as light modifiers or performance props. Rather than the camera being stationary and the activity dependent on one camera view, the set now remains stationary and the dial cameras, properly mixed, alter scenes instantaneously. In Positive-Negative, the two cameras frame the performer's head rotating full circle so that complementary views of it are seen simultaneously, on each half of the split screen, one in positive and the other in negative. As the performer turns, the cameras independently pick up her face and the back of her head, or her left right profiles, so that a constant binary relationship is maintained. Camera so arization (causing image disintegration), wipes, dissolves and, at the end of the kinescope, superimpositions, alter figure-ground relations."

http://keithsonnierstudio.com/fla/keith_sonnier_website.html

Bill Viola

Bruce Nauman

"You can watch for a while, leave and go have lunch or come back in a week, and it's just going on. And I really liked that idea of the thing just being there. The idea being there so that it became almost like an object that was there, that you could go back and visit whenever you wanted to."- Bruce Nauman (Art21)

"If you're an amateur artist, you can get it sometimes and not other times and you can't tell and you can't always do it over again. And the part about being a professional artist is that you can tell and you can do it over again, even if you can't say how you got there exactly. You've done it enough and you know how to get there."- Bruce Nauman (Art21)