1. Corporeal Memory Hastings Museum 2003

    04:07

    from Nichola Bruce / Added

    17 Plays / / 0 Comments

    CORPOREAL MEMORY Installation Projection: Colour. Sound. Continuous Loops. Digital, 16.9 An exploration of presence after death Moving Image Portrait of Grandmother, Projections on artefacts I) Body II) Foot III) Face Events 2003 Experimental Space 2003 Hastings Museum, East Sussex UK

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    • 'Zibadasht' - Beautiful Plateau

      04:24

      from Haleh Anvari / Added

      220 Plays / / 0 Comments

      Haleh Anvari's solo exhibition at Aaran Gallery, Tehran, February 2012. Photos, videoart, installation.

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      • Are you trying to fly?

        01:06

        from Marie Ronold Mathisen / Added

        27 Plays / / 0 Comments

        Installation on the boundaries of performance outside a theatre space Recording: Daniel Lam

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        • Dissolving - [interactive multimedia 2000]

          14:00

          from John Sturgeon / Added

          210 Plays / / 1 Comment

          JOHN STURGEON Dissolving © 2000 Interactive multimedia work ______________________ Dissolving is an interactive multimedia work featuring poetry, sound, image map and embedded Quick Time movies. The central image, a b&w photograph of a seated figure engulfed in a cloud, forms an image map, which contain all the elements of the work. One navigates through this cloud body-map to discover the various interactive elements of the piece. The primary source and dominant visual motif for the piece are the spoiled photographic remains from Gulf Coast Hurricane Opal's destruction of Sturgeon’s entire family photographic history. Embedded within some of the largest photographs are various texts and short video clips that evoke musings on both the temporal and spiritual sense of the connectivity among relationships. Other featured videos were shot among the black bog pools and desolate moors of north Germany. The poetry alludes to the ineffable structure of storage and retrieval in memory. Dissolving hypothesizes that the moor’s metaphorical qualities associate with a source of energy (fuel) and as a reservoir of memory. The moor's particular chemical composition preserves certain materials well, while committing others to decay. Cumulatively, the piece addresses family history and its archive, issues of parenting, fate and of the hidden meanings discovered in seeming chance events and catastrophe. There is cognition of similarities and affinity with others, with an acknowledgment of the power of heritage - cultural, social, familial, and genetic. _____________ Screen Capture: This featured ‘screen capture’ of the interactive piece, also adds a few of Sturgeon's voice over interview notes that describe basic aspects of the work. Dissolving was designed as an interactive multimedia work both for computer/projector installation and as a single viewer computer experience. It was created using Macromedia Director software, 2000. The size and design in the integration of video imagery is a technical limitation of the era, which by necessity created an aesthetic limitation. ______________________________________________________________________________________ "John Sturgeon’s interactive electronic media entices viewers into his drift of slow motion memory. Quick-Time movies with poetic soundtracks transform his experiential postcards from lonely places into metaphors about personal history. A figure seated within a cloud becomes the point of entry for an image map that opens into the complex geography of Sturgeon’s mind." Review: Alice Walker, “In the Mix” arts + entertainment, Pittsburgh City Paper, September 6, 2000 ________________ "Sturgeon draws on the personal and makes it universal in the mesmerizing interactive CD-ROM work, “Dissolving” which blends memory and disaster." Review: Mary Thomas, Pittsburgh Post-Gazette, October 14, 2000 __________________ "John Sturgeon’s interactive CD-ROM “Dissolving”, explores questions of identity against the backdrop of a continuously shifting landscape. The surface of the water is compared to the surface of the skin. Things are hidden beneath these surfaces: stories, people, memories. Navigating through Sturgeon’s work, old photographs and home movies unexpectedly reveal themselves, immediately evoking a sense of nostalgia." Review: Simone Jones, Art Papers Magazine, Vol. 25, May/June 2001 ___________________________ Dissolving's - CD-ROM cover notes: "Here Sturgeon, as poetic archaeologist, excavates the rubble that was once his parent’s home, recently destroyed in a hurricane. Sturgeon documents the ruin while searching for the remains of the family archive. He asks what the nature of the archive is, particularly the personal archive. Must memory manifest in concrete form to be a legitimate record of reality? Due to their concrete longevity, are these manifestations ultimately more real and truer to the past than the once-lived experience of the events that archive represents? For Sturgeon, there is both desperation and relief that the archive is gone. On the one hand, it is as if shared family history has vanished, and without these artifacts generational alienation will increase, thus making memory all the more suspect, given its tendencies to reconfigure the past for its own comfort. On the other hand, the family is free of the burden of the archive; their subjectivities can now flow free of the inertia of history. Once again, Sturgeon is low-key, but stages a compelling work with an interface that doesn’t distract from the concept. Happily, and like in all his work, technology does not take center stage. It remains a tool best left in the background. Sturgeon’s work offers so much in that he consistently tries to bring us to that elsewhere of the transcendentalists, the mystics, and the philosophers of the nonrational, but does so without the fatalistic commitment or the rabid faith of the true believer. He shows that poetry is still tactically viable in an age of mechanical reproduction and appropriation, and allows his viewers to wander in realms beyond the immediacy of political economy. In spite of the claims that history has a come to an end with the conclusion of the great east/west struggle, Sturgeon still argues that this point in time is just one more minor transition, as the world cycles ever onward, leaving us to stand there in wonder as we try to understand the impossible. But most significantly for you the reader, Sturgeon reminds us never to trust an archive—an important thought when one is viewing a retrospective.” Steven Kurtz, Critical Art Ensemble 9/2000 ___________ Observations: “I loved the content, and am so intrigued with this form--there is something about the way you allowed/enabled me to get deeper and deeper into the piece as I learned how to maneuver through it that is very different from other CD-ROM pieces I've experienced. And the flow of the sound was really striking, different layers of recording, different voices, natural sounds mixed with poetry. And I was very aware, by the end of the hour, that I was "making" the piece--I ended it as I wanted to--and to me this is what real interactivity is about--so far beyond the click of the mouse that other artists have focused on as "the" thing that makes a piece interactive.” Linda Dusman, musician and sound artist - 2000 ____________ “I’m not sure if I’ve found all the doorways nestled in that swirl or not. A condition of not-knowing that does motivate return trips to find out – an interesting feature of its “interactivity.” A condition of wanting to find out what I still don’t know, that movies, even those with deliberate cliff-hanger endings can’t quite generate in an equivalent way. The fact that you can and inevitably will tend to move through the piece following differing sequences of doorways on different days gives the piece a kind of implied infinity (of both space and meanings). The components can be stitched together in an endless variety of possible combinations and given that sometimes text voices can be made to overlap compounds this sense of “boundlessness.” I think it’s very effective to work across a range of “voices” from factually based to poetic. The hurricane, the marks it leaves, the people pictured, the tortured rubble all have a concreteness that can’t be totally transcended or transformed. So, you’re drawing meanings, poetical and metaphorical and also practical through voice-over and image combinations and sequencing possibilities is a process that can operate with enormous freedom. The underlying (generative) realities provide a center of gravity that keeps it honest and grounded. The act-of-God kind of humbling that that hurricane inflicted on real lives and on real things almost demands that it be given meanings. And who better to give those meanings than its victims (or their kin)?” Fred Worden, filmmaker - 2006

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          • Tea Gardens and Coffee Houses

            01:29

            from Ludivine Baruton / Added

            258 Plays / / 0 Comments

            Would you like to be enchanted and surprised? Taste the sweet and the sour, the delicate smell of Ceylan? Meet some lovely people whilst listening to the leaves rustling in the wind? Would you like to spend an afternoon with friends in an urban setting in London in a way you have never experienced before? Find out more at: http://www.sponsume.com/project/tea-gardens-and-coffee-houses

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            • Daydreams of a Restless Mind (Excerpt) - Donald Poynter

              01:35

              from SVAMFAComputerArt / Added

              161 Plays / / 0 Comments

              By Donald Poynter School of Visual Arts MFA Computer Art Selected Works 2012

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              • RAVE 2011

                00:04

                from Godan / Added

                20 Plays / / 0 Comments

                RAVE 8 / 2011 Installation at Pfingstweide Zürich for Streetparade Afterparty Sarah Parsons www.sarahparsons.ch Giordano Canova www.godan-visuals.net

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                • Elektriker Service Ecomtec

                  01:06

                  from süleyman yagci / Added

                  171 Plays / / 0 Comments

                  Was wir besonders gut machen! Ständige Erreichbarkeit, auch an Wochenenden und Feiertage Schnelle Reaktion auf Ihre Anfrage Kundenfreundlich, zuverlässige und qualifizierte Mitarbeiter Vertrauensvolle Zusammenarbeit Professionelle Betreuung und konstante Ansprechpartner Service am gleichen Tag Telefonische Anmeldung beim Mieter/Bewohner Koordination mit anderen Handwerkern Fertigmeldung per Email oder Telefon Zurück bleibt nur unsere saubere Arbeit und die gedruckte Visitenkarte

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                  • Standard Bank "Pigeon Jazz In The City"

                    02:03

                    from HEY!FEVER / Added

                    An installation we did on 16 June 2012 (Youth Day) to promote Standard Bank's Joy Of Jazz festival Agency: TBWA\Hunt\Lascaris Client: Standard Bank Art Director: Jo Morrison, Coenraad Grebe Copywriter: Antoinette Fourie, Jared Osmond Creative Director: Mike Groenewald Agency Producer: Lebo Mokwena Production Co: Hey!Fever Director: Cremer Van'Dango Producer: Tanille Retief, Bridget Scarr DOP: Graham Boonzaaier 2nd Camera: Jacq Terblanche On-Set Sound Recording: Smack Entertainment The Jazz Man: Dylan Thomas Silk Post Production: Hey!Fever Editor: Cremer Van'Dango, Tanille Retief Typographer: Coenraad Grebe Audio Post-Production: Hey!Fever & Audio Militia Sound Design: Cremer Van'Dango Sound Final Mix: Audio Militia

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                    • Wunschraum

                      01:33

                      from Stephan / Added

                      103 Plays / / 0 Comments

                      Installation at The Essence 12, annual exhibition of the University of Applied Arts Vienna, Künstlerhaus Wien. Together with Philipp Daun and Stefan Pointner. Film by Stephan Göschl, Wien 2012

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