DIVA 202 – Tuesday at Emily Carr

January 13, 2009

CONTEMPORARY DIGITAL ARTS AND ARTISTS

John Wilhelm “Billy” Kluver 1927-2004
– curated 14 major museum exhibitons
– received Ordre des arts et des lettres awards from France (worked with Rauchenburg, Warhol, Johns and composer John Cage)
– he was an electrical engineer at Bell Telephone Laboratories
– his work ranged from the TV antenna atop the Eifel Tower to an underwater video camera for Jacques Cousteau
– his artistic work reached pinnacle in 1996 with “9 Evenings: Theater and Engineering”
– John Cage – Variations VIII
http://en.wikipedia.org/wiki/Billy_Kl%C3%BCver

Kluver believed that artists and engineers could go one step beyond what either would have done separately.
– absorbing new technology into art practice is persistent throughout the 20th century (futurists, dada, constructivists, fluxus, John Cage)

Fluxus movement is essentially a geocache without technology

John Cage – Water Walk

John Cage’s ASLSP / Organ 2 / Halberstadt,

World’s slowest, longest concert

The world’s “slowest and longest concert” resumed on July 5, 2008, when the Halberstadt church organ played the next – 6th – chord of John Cage’s As Slow As Possible. The weights holding down the organ pedals were shifted resulting to the 6th chord change, and accordingly a chance of hearing the final note being played in the year 2639 would be a possibility. In 1985, Cage opted to omit the detail of “exactly how slow the piece should be played.” Its maiden performance was 29 minutes, while a second version took 71 minutes. The piece is a 639-year-long version of Cage’s ORGAN2/ASLSP As Slow As Possible, first played on Cage’s 89th natal day at 1361 St. Burchardi on September 5, 2001. At 3:33 p.m., Saxony-Anhalt politicians, tourists and media led by Hans-Jörg Bauer, head of John Cage Organ Project, attended the chord change to C4-A flat4.

The former Church of St. Burchard was used as a pig-sty in the communist years of East Germany. Two more organ pipes were added alongside the four installed and the tone became more complex at 3:33 p.m. local time. The second of the new pipes, the next musical change in John Cage’s slow masterpiece will be in this November. A machine keeps the sound coming out.

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Video and satellites allowed artists to experiment with live performance and networking

Douglas Davis performance “Last 9 Minutes” (1977?) is broadcast to 25 countries live.
In 1977, at the opening of documenta 6, alongside Nam June Paik and Joseph Beuys, Douglas Davis took part in one of the first international satellite telecasts with his live performance The Last Nine Minutes. His exploration of interactivity involving various media continued throughout the 80s and 90s. He is the author of one of the earliest art pieces on the world wide web, The World’s First Collaborative Sentence (1994).
http://en.wikipedia.org/wiki/Douglas_Davis_(artist)

Keith Sonnier and Liza Bear

Robert Adrian – using 1979 Comtech, artists collaborated and exchanged multimedia artworks for 24 hours

1970’s Digital Art expands into multiple strands of practice
– object oriented
– process-oriented virtual object
– open structure and process that rely on flux of information, like a performance

1980’s
– the audience participates in the work
– the artist is not the sole creator, but a mediator or facilitator for audience interaction
– the creative process involves complex collaboration and collapses boundaries between disciplines

Concepts of new technologies are shaped by fiction, and are compelling enough to inspire their recreation in reality

What came first, the chicken or the egg?

Or in Digital Art, what came first, the idea of an online universe or the realization of it?

William Gibson
(Vancouver based author) – invented the term “cyberspace” in his book Neuromancer

http://en.wikipedia.org/wiki/William_Gibson

Neuromancer

http://en.wikipedia.org/wiki/Neuromancer

Neal Stephenson

http://en.wikipedia.org/wiki/Neal_Stephenson

Snow Crash

– cyberspace, avatars, second life, mmorpg, internet…
http://en.wikipedia.org/wiki/Snow_Crash

10 Cube Gallery in Second Life = online avatar art gallery

Selling Digital Art
Precious/Scarce does not always apply in digital context
– printmaking model of limited editions scan work with digital items
– for installations or other software dependent art practice, museums are buying the source code and keeping it on their servers

Collecting Art
– Means you are responsible for maintaining the work
– is inherently ephemeral and may only exist in documentation
– ones and zeros are stable, but hardware and software are not – technology creates an obsolescence

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SELF-DIRECTED Project – due February 10
– Digital Tools (photo, print, high contrast digital picture, GPS,
– HIGH CONTRAST

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http://www.stuckincustoms.com/
http://en.wikipedia.org/wiki/High_dynamic_range_imaging

– Digital Native (installation, conceptual, performance, projection, intervention, public)

GROUP Project – due March 31
– ARG
– Real-Time performance (acting on audience input) aka improv (Subsurvient Chicken)
http://www.subservientchicken.com/


Video Art – Emily Carr

January 13, 2009

Sombrio – Paul Manly

Sombrio is a 60 minute documentary about a community of squatters and surfers who lived on a beach on the southwest coast of Vancouver Island BC. The documentary follows the residents over a two year period leading up to their eviction and follows up four years later.
http://manlymedia.com/documentaries/sombrio

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Cremaster (The Order) – Matthew Barney


– considers his videos not art but sculptures


Film Production

January 13, 2009

Roman Polanski student short films:

Dwaj ludzie z szafa (Two Men and a Wardrobe) – 1958 – 1 of 2

Dwaj ludzie z szafa (Two Men and a Wardrobe) – 1958 – 2 of 2

Morderstwo (A Murderer) – 1957


Reading the Screen – This week’s film clips

October 3, 2008

CONCEPTUAL / EXPERIMENTAL FILM
– what are your physiological responses to watching this film?
– how is the film engaging you?
– using new technology to inquire about itself (optical printer)
– goldrush to explore new possibilities that the technologies can usher in

Ballet Mechanique – dir Fernand Leger

Part 1

Part 2

Mothlight – dir Stan Brakhage

Wavelength – dir Michael Snow

Pas de Deux – dir. Norman McLaren

Part 1 – all I have to say is WOW – what an incredible film

Part 2

Un Chien Andalou – dir. Luis Banuel

Meshes of the Afternoon – dir Maya Deren

Variations on a Cellophane Wrapper – dir David Rimmer
– I couldn’t find a clip of the film, but here are some informational links if you want to learn more
http://www.google.ca/search?q=Variations+on+a+Cellophane+Wrapper+David+Rimmer&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a
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Pièce Touchée – dir Martin Arnold

“pièce touchée, Martin Arnold, Austria,16mm Film, b&w, 16 min
Arnold’s breakthrough film, pièce touchée, is based on a single 18-second shot from The Human Jungle (dir. Joseph M. Newman, 1954). Woman sitting in a chair. Man enters the room. Man and woman kiss. Exit man.”
– from the YouTube description

– this is only half of the film as a whole – could only get the first 9 minutes of the piece from YouTube

personal notes:

– b/w film – opens with a woman sitting on a chair in a living room reading a newspaper
– humming / mechanical noise overlay
– repetitive film – no movement at all other than fingers and head
– starts with only one frame then slowly builds up with the number of frames
– back and forth with forward and backward movement of the frames as the man enters the room
– mirroring imagery from left to right = cool effect on the eyes
– her head appears to swivel a complete 360 as the scene repeats and mirrors itself
– the man goes down and kisses the woman finally
– various editing techniques follow to the end…

in-class round table discussion:

– motion study / repetitive motion study
– changes of planes / changes of perception
– disorientation and uncomfortable
– dealt with time – kept revisiting and repeating frames
– absurdity of everyday domestic scene
– sound was mechanic humming
– story interpretation of repetition
– negation of story narrative
– metaphor / felt like we were inside a washing machine
– creation of new images using existing frames / transformation
– underlying issues of domesticity (violence / sexuality)
– issues of dominance, power and gender
– introduction of new editing techniques
– abstraction of shapes and creation of negative space
– interesting effects of animation (head spinning / rotating)
– soundtrack gives a dehumanized / mechanized theme to the piece (lack of humanity)
– unexpected editing techniques (reversals, mirrors, motion, movement)
– Experimental / Found Footage film piece
– too long? too repetitive? (was it intended?)
– no finality at the end – felt incomplete – where did it end? what does it mean?
– resolution irrelevant – it is an experimental film by nature
– A Touching Piece / Touched Piece – what does the title actually refer to?
– critique of cinema / society at the time (Hollywood system and view of society)
– expanded cinema (new term for avant-garde / experimental / innovative)