|
|||||
|
|
|
|
|
|
 |
|
|
A live Internet/metaspace performance that takes text results from an Internet search engine "bot" and displays it in a continuously animating pattern. Something of a search-engine-gone-light-show, the text is interactively "conducted" by an Übergeek performer armed with geek toys including an air mouse and a post-Stelarcian Mattel power glove. Web text become3s cool! - With all the hipness of a designer pocket protector . . . A humourous look at the merging and hype of geekness and cool in contemporary culture.
A hub is a piece of equipment that acts as an intersection for millions and millions of bytes of networked data. This data information comes from all sorts of different machines and cross in a hub to reach their varying destinations. "Hub" is used as a metaphor for the visual displayed on the screen in this artwork. The image is of a street intersection - one of the busiest in the United States - Los Angeles, at the intersection of Wilshire and Westwood Blvd. The cars are like computer data moving through a network, thousands and thousands of cars travel through this intersection. All of them start from different points and usually end up at different points in the city, however they all cross in this intersecting space. Visual images are collected from six different times of the day, and are merged on one surface to create a form from time.
What if the day were divided into 100 hours instead of twenty-four? And what if each of those hours were divided into 1,000 seconds? The resulting basic unit of this "metric" time system would be 17.5% shorter than the "standard" second by which we pace our busy daily lives. Would music, in general, be played faster? Would TV shows be shorter? Would people walk faster? Dies Centi, which is one metric hour (1/100 of a day) long, is essentially two versions of the same piece played simultaneously. The form of one version is based on our standard time system and features tones which beat once per "regular" second, and the form of the second version is based on the metric time system with tones heard once every metric second. When played simultaneously, the two pulses form a complex polyrhythm which lines up every 108 standard seconds. These points of coincidence are used as major structural points in each of the two forms, giving the overall piece a sense of cohesion despite the disparity between the metric and standard rhythms. Project manifests an aural "map" of meteorological energies- from remote locations- inside the Timeforms space. Receiving data from a NOAAPORT stream via internet in near real-time, a small module-path would then reorganize the numbers for use in computer sound generation, ultimately sculpting loosely recognizable, though abstracted, analogues of weather-event patterns. Our experience of time is a catalogue of a network of changing events. Weather is an unpredictable, continuously evolving matrix of dependent factors that, as a system of energies continuously received, shapes and nourishes all other events in material existence.
The fabrication of an object resembling Venus de Milo (minus the head), made of pure birdseed, cast in edible, bird-friendly adhesives. The work takes up this notion of time by allowing nature to playfully deconstruct one of European culture's most timeless and recognizable icons. The ephemeral quality of the birdseed contradicts the seemingly eternal quality of the original marble. It doesn't taunt nature's ability to destroy. Rather, it gracefully disintegrates as it feeds nature, preserving its beauty and creating a memory unlike any other for the bird watcher.
Pattycake explores a post-structural and minimalist deconstruction of the child's game pattycake. By separating and isolating simple gestures and sonic elements of the game over the course of 45 minutes this projection reveals the marking of periodic time both microscopically by the isolated gestures and sounds, and macroscopically by the separation of these gestures into fields of discrete activity. In this actor's portrayal of this rhythmic game, perception is shifted from the simplicity of the game to the durative structure of the piece. The dramaturgy of the piece explores the redundancy of the domestic child-rearing space and rote teaching in the context of formalist art.
Metal, Stone, Skin, Foliage, Air is a composition for percussion quartet by the Swiss composer Jürg Frey and was composed over the years between 1996 and 2001. Frey is an active member of the new music community in Switzerland, working as a composer, clarinetist, and organizer of the concert series Moments Musicaux. The weekend of April 20th was the world premiere performance of his percussion quartet. Almost all of Frey's music is concerned with the passage of time and how sound and music operates within space and time. This piece is 67 minutes in length; the players are unison for almost the entire piece. They move together from one sound world to another; from one type of material to another. Michael Pisaro has said that Frey's music almost always begins with two as a kind of music concept: "A piece begins with something -- some group of similar sounds, or some manner of performance; and then, without warning, reason, or justification, simply changes to something else. It does not matter that this might happen several times in a piece. No matter how many times it occurs, it always, in the moment in which it happens, means "two". It breaks off a composite past (a succession of moments which, in retrospect, become part of a single stream) from an uncertain future."
Cycles of Energy is a video installation based on the Chinese healing approach of working with organ energy flows through the body's meridians. Within this holistic dogma there are twelve organ flows that begin at 4:00 a.m. and continue through 24 hours. Each organ has energy flowing through its entire meridian for a 2-hr. period in every day. The energy cycle moves from the superficial level to the deepest levels of the body, returning to the main central flow and begins again at 4:00 a.m. in the lung meridian.
Time is a necessary component of unfolding global news. Through the viewing and harvesting of live cable streams, and streaming news media, specific frames of time will be catalogued, mixed, and then projected onto a screen outside of CRCA. This live "newsmix" will be created by IMMEDIANCE through audience interaction from online and a physical installation space whereby media fragments are recomposited and remixed, akin to a DJ mixing audio, or a jazz performer improvising. Also, the mixing will be webcast via the internet as a new composite. In many ways, the news as instant history and instant gratification for the viewer is a corresponding measure of time. Beyond the quantitative measure of time, the qualitative form and remixing of news events is how we view time for TIME FORMS. I, Shane Hope, do hereby certify and declare as follows: (1) I hereby claim as a declared timestead the time in, and more particularly described as follows: [Give complete description] (2) I am declared timestead owner of the above declared timestead. (3) I own the following interest in the above declared timestead: (4) The above declared timestead will be my principle time and I will exist within the declared timestead. (5) The facts stated in this Declaration are true as of my personal knowledge. FULL NAME OF DECLARANT: Shane Michael Hope. Declaration will serve as "an experience in, a perspective upon, and most of all a compelling and distinctive manifestation of the shaping of time."
Composer: Cristyn Magnus For flexibility, the piece was written for n speakers where 2 < n < 8. Spatialization for this piece is generated algorithmically as the piece progresses and currently can run with 2, 4, 6, or 8 speakers. This piece explores the interaction between time, gesture, and sound. The score consists in ten distinct sections which are ordered by the performer within an overall form. Each of the ten sections is the same written length, but depending on its place in the form may fill anywhere from twenty seconds (achieving an almost percussive quality) to three minutes (slow enough that timbral nuances come to the fore).
One hour dance where different collaborations mix with the dancers, simultaneously performing many short fluxus/vaudeville type pieces. The camera will therefore move between the dancers to the fluxus performances and back to the dancers. Some of these performances will be straight netcasts, some could be interactive.
An audio processing installation that plays with cyclical time in an additive rather than a destructive way. Most cyclical or circular ideas of time involve the new time "overwriting" or "replacing" the old time. I wanted to explore the idea of new time simply merging with old time. Therefore, slowly the happenings inside time become more and more chaotic. More is happening simultaneously, so it is more difficult to pick out individual events from the experience. Eventually only chaos will remain. It is as if everyone were to live their lives simultaneously. The further along (temporally) one traveled, the smaller the loop became. Everything that has ever happened not only continues to happen for eternity, but happens in a shorter and shorter time as time progresses. One or more microphones will be picking up the ambient sound of the surrounding area, channeling it back live and capturing it into a computer. Custom-written software in MAX/MSP will take these recordings, time-compress them, and loop them back on each other. I have a friend who is a weather junkie. He darts outside if there are clouds, to see the type of cloud and direction of the wind. He drives to the coast to watch an incoming storm or hail. When he's at my house, he gets on the DSL and spends an hour fixated on live weather satellite data. His devotion is not unlike love. It's unconditional love, because no matter what the weather, he watches and waits, every single day. Right as Rain is a live data driven narrative. It utilizes current weather information from online resources in different cities. The user chooses from a list of URLs that give weather data in different cities. Temperature, wind speed, barometric pressure, humidity, cloud cover, time and frequency of high and low tides ñall these data points are parsed and relayed to the text engine, which updates our Narrative according to these changes. For example, barometric pressure may influence stress-related details in the text, temperature may influence how hot or cold a relationship runs. In particular, high and low tides elicit acute shifts in the narrative. Right as Rain is a micro model of love and its connection to life forces. With Jeff Knowlton -- concept and programming and Jeremy Hight -- concept and writing.
For contact microphones and turntable. The piece is in three sections, each of which differently exploits the clattering of homemade contact microphone elements against the moving surface of a phonograph turntable. Among other things, the piece explores the low frequency limit of auditory pitch perception where timing information gives way to tonal sensations (i.e., at which repetition becomes pitch and phasing becomes beating). This interactive sound installation transforms astronomical data, in the form of full hemisphere maps of the night sky at midnight printed on to 12" vinyl LPs, into unique yet repetitive tonal patterns. This unlikely rendition of the "Music of the Spheres" is a synthesis suggestive of both radio astronomy recordings and the nostalgic experience of listening to music on a worn vinyl LP. The strange, yet somehow familiar, music mediates the relationship of the astronomical data to the history of its production through the content of the LPs, encodes a specific time in each stellar maps (latitude, longitude at midnight), and evokes the cosmological nature of time. Each LP represents one of several women members of the Harvard College Observatory, collectively known as "The Harvard Computers." Working between 1886 and the 1940's, this little known group of women astronomers is responsible for the development of schema for indexing and classifying stars by their spectra and for generating voluminous catalogs of stellar data. Their work forms the basis for the majority of the stellar maps in use today, and is the foundation for the maps used to generate the LP disks for the installation. The disks represent some of the more famous women astronomers of the 19th and 20th Century, Annie Jump Cannon, Williamina Fleming, Margaret Harwood, and Antonia Maury who were part of the group. Feel like you need more time sometimes? We present an online experience where individuals create an alternate identity and go on a shopping spree for time. The system creates a price for multidimensional time based on the economic characteristics of the avatar identity. The collective activity of all avatar identities over time drives the price up or down for the various asynchronous time products, so the individual affects the whole and vice versa. Ultimately "time x n = inspiration x 2" asks the questions, "What are we willing to pay to acquire multidimensional time or consciousness?" and "Is this something we want?" "time x n = inspiration x 2" is an online experience where people can buy time- with a twist. You can shop for time to add to your continuum or take a leap into multiple parallel experiences of time. You can choose from items like "if only" time that allows you to go back and do all the things you would have if you only could have.... while you are also here in the present. You can also simply add an Nth hour to your day, or purchase immortality. Take your pick... and we'll give you a special price all your own. Then with the speed of e-mail we'll send your Inspiration particles to you in a handy titanium vessel. Time flows like the endless motion of the pendulum
-- steady, stable and providing you a sense of peace and unlimited space.
Upon this theme, "The Pendulum" attempts to create a balance
between video and spacialized sound, where the termination of image is
going to continue in the audio space, and visa versa.
|
|
|
|
