self awareness

"...This self-reflective act operated in many levels. It was both spectacle and challenge. How could the live performer compete for viewers' attention with both the mystery and beauty of filmed image? Which performance was more "real", the filmed or the live? The filmed dancer was, in a sense, both a ghost and a companion, a reflection and a mirage."

-- Michael Rush about Trisha Brown's Homemade (collaboration with Robert Whitman) in New Media in Art

two sites, two times, two sides - on telematics

«Double Entendre: Two Sites Two Times Two Sides»

[Double Entendre] was a link between me at the Whitney Museum of American Art in New York and the Centre Pompidou in Paris. There was a woman in Paris and I was in New York. We engage in a conversation that turns into flirtation and seduction. I am speaking only in English, and she is speaking only in French, but we are saying the same things to each other, doubling the language. Often the lines came out of a then-new text by Roland Barthes, the «Lover's Discourse». […]

«Double Entendre» was a video piece that had to depend for most of its 30 minutes on audio, primarily because we didn’t have the budget for the transmission of moving images. So for most of the performance you just heard these people speaking. The words were on the screen, but you didn't see the speakers until the last five minutes.

At the end of the performance I say: «I can't stand the separation anymore. I am coming across the Atlantic right now.» That related to Barthes’s text. In it, he talks about both love and language being a kind of leap. So I plead with her to stay where she is and run out of the Whitney Museum. Next you see me on the video, finally moving, running down Park Avenue. She speaks with the audience, asking them if she should leave or if she should stay. In the end, she decides to run away. So she races down to the Plaza in front of the Centre Pompidou, and I land, live, right in front of her! We chase each other around, and I finally embrace her. «Double Entendre» ends with our embrace, far away, in the twilight - it's evening in Paris, afternoon in New York. As we stand there, merging into the darkness, two voices speak simultaneously, in French and English, speculating on the double meaning of what just occured live.

So that means that you were in Paris all the time?

Davis: No. It means the double is everywhere, as intended in the title. He was a really incredible double, he looked and walked exactly like me. I went to Paris and rehearsed with him. All the critics who saw the work on video were convinced that the landing and running action had been taped, but it was absolutely live.

(source: Douglas Davis, in: Tilman Baumgärtel: [net.art] New Materials towards Net art, Nürnberg 2001, pp. 57f.)

1st collaborative sentence online continues... come closer!

bold

              tender

            kind                


                        Lovely!
lovely

                   caring

     sexy

               pure as (gold is not pure, nor silver) water

 sweet as fire

                         and then some 

Learn more about continuing the World's First Collaborative Sentence here.
Join Douglas Davis work here.

"1s and 0s of digital art degrade far more rapidly than traditional visual art does, and the demands of upkeep are much higher."

-- in, The New York Times (Art&Design) | When Artworks Crash: Restorers Face Digital Test by MELENA RYZIK

it's open season... summer is not coming.

WATCH: 50 Years of LGBT Culture | Advocate.com

Gay activist/artist Leo Herrera has meticulously combed through more than 50 years of video footage to create a memorizing look at the LGBT community’s journey over the past five decades, reportsTowleroad.

According to Herrera, the 5-minute video collage, titled The Fortune Teller, took six months to assemble and is comprised of 100 clips, which were each carefully chosen by the artist.

WATCH: 50 Years of LGBT Culture | Advocate.com

categorization / grids (Krauss, 1979)

...There are two ways in which the grid functions to declare the modernity of modern art. One is spatial; the other is temporal. In the spatial sense, the grid states the autonomy of the realm of art. Flattened, geometricized, ordered, it is antinatural, antimimetic, antireal. It is what art looks like when it turns its back on nature. In the flatness that results from its coordinates, the grid is the means of crowding out the dimensions of the real and replacing them with the lateral spread of a single surface. In the overall regularity of its organization, it is the result not of imitation, but of aesthetic decree. Insofar as its order is that of pure relationship, the grid is a way of abrogating the claims of natural objects to have an order particular to themselves; the relationships in the aesthetic field are shown by the grid to be in a world apart and, with respect to natural objects, to be both prior and final. The grid declares the space of art to be at once autonomous and autotelic. (...)

- Rosalind Krauss / Grids - October. Vol. 9, (Summer, 1979), pp. 50-64

under development :: Sequence+01.Still002.jpg

http://daniel-pinheiro.tumblr.com
http://daniel-pinheiro.blogspot.com

technology and revelation (TALK)

transcription:

Inspiration is a living force that transcends time and place, and in a way its a gift from the stars, we don't know where it comes from, it just appears in each and every one of us at birth and it is present at various points throughout your life, some more, some less. It's a force of nature, people call it many different things like creativity, curiosity, vision, imagination, resides in human beings and animals, and it also appears on some fish and insects. (...) at its root, inspiration is independent of gender, age, race, class and culture. (Think about that!) It's a catalyst to fuel in the fire, see a central element that ignites the spark in the heart that can move mountains.

Bill Viola

sounds of queer

a-machine(s)

Henrik Olesen, Project 94 (MoMa)

...It is a virtual system, capable of simulating the behaviour of any other machine, even, and including itself.

It only actually exists when it has a specific task to perform, and then it is no longer itself, but simply whatever it is doing.

 Alan Turing about the "Turing Machine"

spatial montage

“In general, spatial montage would involve a number of images, potentially of different sizes and proportions, appearing on the screen at the same time. This by itself of course does not result in montage; it up to the filmmaker to construct a logic which drives which images appear together, when they appear and what kind of relationships they enter with each other.”

(Section “Spatial Montage” in The Language of New Media). -- Lev Manovich

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