Ela Boyd MFA Thesis Exhibition, Instances Instantiate Documentation. Generative video, one way mirror film, wood, LED lights and TVs. Ela Boyd's video installation work explores issues of representation and visual perception in terms of the body, time and space. In her exhibition catalog, Instances Instantiate, she considers the ways in which instances of multiplicity instantiate the actuality of simultaneous modalities of embodied presence. Outlining her research and practice, Boyd looks to constructions of cinematic production, (character, set, context and linear succession) as an analogy for our experience of perceiving, apprehending and simulating a continuous reality. Whereas the formal aspects of film/video media, such as frames, pixels, editing/remixing and spatial presence substantiate properties inherent to space-time outside of our perception of it. Boyd rejects canonical film theories of semiotics and psycho-analysis and utilizes Gilles Deleuze’s philosophy of film and Henri Bergson’s philosophy of time to evince her own ontological theory of actuality and multiplicity. Boyd develops this theoretical trajectory to posit multiple selves as proliferating and 'time-traveling' via mediated spaces, conscious apprehension and projection. Her categories of presence include the metaphysical/ephemeral body, thecinematic/iconic body and the fantasy body (imagined or dream self). Boyd uses the body-in-space to address what is considered to be actual/viable embodiment, new forms of inter-subjectivity and to generate a sense of a de-centralized presence. Through film theory and her installation strategies, Boyd unfolds three temporal scenarios; multiplicity, parallel and potential. Lastly, her research and practice expand upon and offer an experience of the ontological implications of flattened, extended and multi-dimensional/ conceptual space. To this end, Boyd is able to advance her theory of the image as an actual instance of embodied presence instantiated in the moment of conscious perception.+ More details
Video Wall, Sequence 10, Transforming Buddha Pia MYrvoLD - 2011 - 2013 ongoing project. 4 projector installation editied with digital mapping tools. Sculptural animated sculpture form in colour hues. Projection ratio 3: 12, or 3x12 meters, 6x24 meters.+ More details
Metropolis Rises @ Red Gate Gallery, Beijing- Thanks to our talented filmmaker and sound engineer for putting together this wonderful vernissage video! island6 has long been known for its soft, romantic take on technology where pixelated fairies flitted around papercut trees under the pastel glow of LED skies. In its second solo show with Red Gate Gallery, however, the collective turns the electronic garden on its head with a hard, honest look at the meaning and direction of our obsessions with the automated and computerized.+ More details
Floating World is a dynamically generated animation commissioned for the South Lobby of the Mercedes House building in New York City. The 23-foot long installation continues Utterback’s exploration of the intersection between hand-drawn art and computer generated images. Inspired by linear scroll paintings and the site’s proximity to the Hudson River, Floating World combines painted watercolor strokes with specially designed computer software to create a flowing watery landscape across ten flat screen displays.+ More details
A sphere fountain filled with UV reactive liquid is placed in the middle of a darkened room. The liquid emits light by reacting to UV lights placed in the space. Upon entering the room the visitor perceives the fountain as a hovering green liquid sphere in constant motion. Hydrophones are placed at the bottom of the fountain to capture the sound of the liquid falling back inside the fountain tank. The sound is digitally manipulated and pitched down thirty semitones. The manipulated sound is then played back in the room through a four channel sound system. A 3D model of the sphere fountain that is reacting to the sound transmitted from the hydrophones is streaming online at mariosathanasiou.com throughout the duration of the installation. The event took place on 10th April 2013 at the Bunker space in London, UK.+ More details
NICOLAS MAIGRET + BRENDAN HOWELL - THE PIRATE CINEMA In the context of omnipresent telecommunications surveillance, “The Pirate Cinema” makes visible the hidden activity and the geography of peer-to-peer file sharing. The project is presented as a control room, which instantly reflects P2P exchanges happening in real time on networks, which use BitTorrent protocol. The installation produces an improvised and syncopated arrangement of files currently in exchange. The immediacy of the presentation of digital data, including fragmented information about source files and their destinations, depicts the topology of digital information use and the global reach of data dissemination. JEAN-BAPTISTE BAYLE - TERMINATOR STUDIES This project proposes a reinterpretation of the science-fiction series “Terminator,” whose narrative reveals itself as a veritable almanac, prophetic in nature. In analysing the links between history and fiction, “Terminator Studies” poses a critical eye on the domination of machines and the intrusion of surveillance systems in private life. In addition to Bayle’s performance on May 12, a map depicting the socio-historical connections between “Terminator” and contemporary politics will be on exhibit in the gallery space for the duration of the festival, alongside a visitor-accessible Web archive of the entire project. CONSTANT DULLAART - TOS (TERMS OF SERVICE) The neutral appearance of platforms such as Google, that is, their clean and tidy landing pages devoid of advertisements, make them appear as harmless research tools for browsing the Net. Their true opposite nature is, however, quickly revealed through “Terms of Service”, a work where Google’s landing page dictates the prominent search engine’s rules and conditions out loud. Google’s search bar becomes the Mouth of Truth, revealing its terms of service with a chillingly neutral, machine like voice. CONSTANT DULLAART - NERVOUS NEWS “Nervous News” is a practice in manipulating live online content as Dullaart appropriates displays from news sites — usually graphically attractive — to shiver with fear. By letting the webpage tremble, the news becomes hard to read but also seems to become part of the image, thus forcing the viewer to recognize that this website only offers a narrow depiction of reality. CONSTANT DULLAART - CRYSTAL PILLARS “Crystal Pillars” is a video essay comprised of “real” social encounters Dullaart experienced through his Facebook life. As a voice actor recites a range of social media “sages” — from Mark Zuckerberg to Lil’ B to Dullaart himself — the resulting narrative takes viewers on a journey through personal experiences, corporate promotion, and an apocalyptic perception of the contemporary social landscape. For Dullaart, social network citizens readily give up their privacy in return for potential contacts, as though these were tangible and exchangeable commodities. In this way, Dullaart points out that the idea that we control our identities and how we are perceived online is merely an illusion. MELISSA CLARK - SILA “Sila” is a generative multimedia installation about Arctic ice and Greenlandic culture, evoking imagery of shape shifting, melting, falling ice, and climatic cycles. The Greenlandic ice sheet is the second largest ice body in the world. Today, many focus on the Arctic as related to climate change as well as to the region's politics over resources such as oil, minerals, and gas. But there is also a human element to be considered and a culture embedded in this ice, water and terrain. “Sila” is divided into two areas: one documenting daily Greenlandic life through hundreds of small photographs of ice, hunters, youth, soccer games and family dinners; the second representing a mixture of water and oil dripping slowly into a suspended sculpture of glass and paper. Over the course of “Sila,” paper will disintegrate; pieces of glass will fall and break. The sculpture will change analogously to climatic cycles. Video and sound will go through cycles of audible textures and recognizable images into washes approaching nothingness. Ed Bear collaborated on the engineering and fabrication design of “Sila.” R. Luke DuBois consulted on building the video software's algorithm.+ More details
NICOLAS MAIGRET - SYSTEM INTROSPECTION “System Introspection” can be understood as a self-observing machine. This performance proposes a physical experiencing of numerical data and its multiple languages, formats and content. It translates concretely as binary code written on a computer hard drive and its intrinsic qualities (structure, logic, redundancy, rhythm, compression) presented in the form of visual and sonic live streams. STEVE BATES - UNTITLED (PIECE FOR SOUND AND LIGHT #2) Drawing inspiration from the field of bioacoustics as well as the study of sonic environments in urban planning, Bates’ performance proposes a real-time collection and re-diffusion of sounds and vibrations from in and around the performance venue. These collected sounds are then converted to each of the primary color channels of a video signal, thus providing an immediate and synesthetic relationship between sound and light. For the first time ever, Bates integrates generative video signal into his live sound work, to create a unique immersive experience. RYAN JORDAN - POSSESSION TRANCE "Possession Trance” is an ongoing live performance project exploring the crossover between cybernetics, underground rave music and (oc)cult rituals. High-powered stroboscopic light is used to control home built light-sensitive hardware leading to powerful and synchronic audiovisual output signals. These signals become directly perceptible in the brain and mechanical functioning of the human body leading potentially to audiovisual hallucinations or “mystical” experience. Immersion of the self is induced by high volume noise, direct amplification of an electric signal passed through processed metals controlled by high powered electronic ionization of xenon gas. Simultaneous, synchronic audiovisual stimuli are produced, accompanied by olfactory stimuli. The performance experience dissipates into photic voltages tracing themselves into oblivion through rods and cones penetrating neuronal alleyways at high velocity.+ More details
MELISSA F CLARKE + NAT ROE - PRIVATE LANGUAGE To scan through a radio dial is to read mass culture’s unwitting diary. “Private Language,” the audio-visual duo of Melissa F. Clarke and Nat Roe, meshes audio collages produced by live radio transmissions with streaming Internet video improvised live in Jitter/Max/MSP. Sonically, “Private Language” appropriates, collages and processes radio signals using digital and analog means, as well as exploiting sonic qualities inherent to the playback device. In the hands of the artist, signifiers of mass culture become tools for subversion. Private Language’s arsenal contains inflections of Brion Gysin’s cutups, John Cage’s chance composition, DJ Screw’s codeine-tinted outlook, and the chaotic anxiety of no-wave. Visually, kaleidoscopic geometrical solids frame diaristic encounters with culture as surreal, uncanny and sometimes alienating. Video footage is sourced from Youtube using software that employs similarity algorithms to cycle through visuals in a manner reminiscent of flipping through a radio dial. Through both communication mediums of radio and live-streaming net video, mass information access becomes a third collaborator to which the artists respond. R. LYON - THE LIMITS OF PERCEPTION AND THE RECTANGULAR FRAME 2 R.Lyon’s most recent performance work “The Limits of Perception and the Rectangular Frame 2” concerns the ingestion of foreign objects and the history of noise as it relates to Futurism, the sound of thermonuclear detonation, and the universal Turing machine. Through the performance, he creates an automatic search engine using narrative biographical material, a video projector, and singed hair. The artist’s live narrative, which extrapolates from the metaphysics of the Internet and exposes virtual space as an esoteric space for myth-making, is accompanied by a score composed by Area C. TASMAN RICHARDSON - TEMPLE In the recent work, “Temple,” the performer has replaced the shaman/priest, and the screen/sound has replaced the performer. Pulling from the cultural dictionary of cinematic micro phrases, a ceremonial edit of symbols and signs is mediated. Richardson’s spectacular séance will weave the recorded media into a spastic orgy of cut ups in the spirit of the Burroughs/Gysin legacy to invoke a temporary temple. Together, artist and audience trade new sigils for old, beat the ghosts of many drums and relax their logic to allow their instinct to guide their memory and associations at a rate faster than reason.+ More details
VICTOR MAZÓN GARDOQUI - VØID Dealing with tactics and techniques of non-visibility, as well as activist strategies towards mass media and propaganda, Mazón Gardoqui’s performance reveals the fragility of public radio communications, through the use of custom made wireless blocking devices. Confronting national and corporate wireless communications, the performance blocks any commercial communication, for a controlled period of time, in the surrounding area of the performance. Without any pre-recorded sound material and with the use of eight Radial devices, a non-commercial custom device designed by ://r-aw.cc, the performance set-up functions as a short-range transmitter capable of blocking any transmission broadcasting on the FM/UHF spectrum. VØID reveals the fragility of public wireless information networks and the power of subverting them through obsolete technology. ERIN SEXTON - PHASE SPACE Situated between alchemical ritual and lab experiment, with her most recent work “phase space”, Sexton explores human perception in relation to the slow and indifferent time-scale of nature, drawing us through immediacy into contact with the micro-macro cosmos. During the course of the performance, the different phase states of matter will be amplified, oscillated, and expanded through sound, live performance, and microscopy, creating an embodied experience of the space where liquid, crystal, electricity, and flesh coincide. This piece is an extension of Sexton’s “crystalline domain” installation series, initiated while in residence at Studio XX in the Fall of 2012. The artist would like to thank Studio XX for their support. VICTOR MAZÓN GARDOQUI - THERMAL "Thermal” is an on-going research project about vulnerability, molecular irritation, high frequency reception, and electromagnetic activity amplification. “Thermal” culminates in the creation of objects, printed matter and sound. The performance is based around the electromagnetic activity and high frequency fluctuations produced by microwave ovens: electro-domestic devices used by more than 40% of the population worldwide. “Thermal” makes use of hardware based on logarithmic detectors developed by ://R. In this latest incarnation of De Vega’s ongoing project, presented for the first time ever in Canada, the artist puts forth a new model for audio/visual performance: a live event with the exchange of invisible matter at the forefront.+ More details
“Street Ghosts” is a project that takes images and information from Google Street View as its source. Printing and adhering life-sized pictures of people found on Google Street View at the precise spots where they appear online, “Street Ghosts” points to the fact that while the physical evidence of these people/ghosts may quickly vanish, their documentation remains forever. “Street Ghosts” reveals the aesthetic, biopolitical, tactical, and legal issues that surround public art and the power of information found on the Internet. Cirio’s street ghosts have appeared in New York City, London, Stuttgart and Denver. They will make their first appearance in Canada during Sight & Sound.+ More details
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