We may assume that a time will come when that which I am about to describe will name itself—but for now: 'Computational periodics' is a propositional and tentative term which may help to designate a new unified field for a heterodimensional art; a field whose special dimension is time. An art which is temporal, as music itself; being, that is, spatio-temporal. An art whose time has come because of computer technology and an art which could not exist before the computer. Even though this art will be found in the notebooks of Leonardo and has been in the collective imagination, like the flying-machine, since his epoch it was a technological impossibility until the development of computer graphics.
Rhythm, meter, frequency, tonality and intensity are the periodic parameters of music. There is a similar group of parameters that set forth a picture domain as valid and fertile as the counterpoised domain of sound. This visual domain is defined by parameters which are also periodic. 'Computational periodics' then is a new term which is needed to identify and distinguish this multidimensional art for eye and ear that resides exclusively within computer technology. For notwithstanding man's historic efforts to bridge the two worlds of music and art through dance and theatre, the computer is his first instrument that can integrate and manipulate image and sound in a way that is as valid for visual, as it is for aural, perception.
-- EXCERPT FROM "COMPUTATIONAL PERIODICS" BY JOHN WHITNEY
Founded by curator Michael Connor in 2009, Marian Spore was a limited-duration art space that closed on December 18, 2010. Rather than organizing group or solo shows per se, the gallery was a perpetual work in progress; Connor added pieces irregularly, leaving them on display so that repeat visitors would find an accumulation of works. Connor has put the acquisitions into storage and will continue looking for buyers, considering the works on loan until they find a permanent home. Situated in a 16,000 ft loft on the fourth floor of a building in the gargantuan Sunset Park industrial complex Industry City and named after an artist who believed she was in communication with spirits of dead artists (and who was the third wife of Industry City’s founder), I visited Marian Spore for the first time only a week before the closing. Connor looked surprised when I referred to the “current exhibition” of all thirteen works he had gathered over the past months; after all, as the collection grew, each object had been on view continuously.
All those present at Cincinnati-based project space CS13 on Saturday, December 11th, participated in redubbing an excerpt of Jurassic Park. This included foley effects, an improvisational score, as well as dialogue. This is the result.
-- FROM THE ARTIST'S WEBSITE
I came across these videos via WMMNA. These talks were taped during the symposium The Documentary Real which occurred on October 21, 2010 at Domzaal, Art Centre Vooruit. The event invited artists and theorists to "interrogate the ambiguous relation between documentary film and reality." I've only had a chance to review the two Gregos and Bruzzi clips posted below, which both emphasize the changing notion of the "real" within a heterogeneous media landscape, especially with the advent of the internet. All the talks are available on the site, here.
It has been a number of years that the so-called ‘documentary turn’ has become a frequent phenomenon in many artists’ films. The talk will be a comparative look into recent documentary practices that diverge from the orthodoxy of documentary as ‘factual’ film’, a notion which contemporary artists have repeatedly challenged of late. These artists working from a documentary point of departure use multiple strategies to reveal known or hidden ‘truths’, sometimes weaving fictional elements into their stories. Many of them demonstrate that ‘truth value’ does not lie in mere representation but may emerge even more forceful through artistic abstraction, translation, filtering and interpretation and that nowadays the borderline between documentary and fiction, or reality and fantasy is often becoming hard to distinguish. The talk aims to illustrate that the notion of the ‘documentary real’ is continuously evolving and cannot now be pinned down to a single definition or delineated through specific boundaries. Indeed it aims to show that some of the most interesting documentary practices are those which I call documentary ‘with a twist’, i.e. films that interweave the political with the poetic, and navigate between different filmic categories to arrive at highly individualistic hybrid documentary forms where the notion of realism is in ...
In order to explore the contradictions and the potential of time- based art, especially in its cinematic guise, I trace a number of overlapping and conflicting genealogies of film and video art. I believe that only by creating a constellation of such genealogies can the logic and structural antinomies of film and video art—and of time-based art in general—be brought into relief and related to the wider changes in the political economy of time during the past decades, during which the West has seen a gradual demise of Fordist assembly-line production and a disintegration of the strict separation between work and “free time.” The classic alternation of work and leisure can be called, with Guy Debord, a form of pseudocyclical time, an apparent return to agricultural, “mythical” cycles in a temporal regime built on irreversible, historical time—or rather, on a reified form of such historical time, that of commodity production.
“Once there was history, but not any more,” because the class of owners of the economy, which is inextricably tied to economic history, must repress every other irreversible use of time because it is directly threatened by them all. The ruling class, made up of specialists in the possession of thingswho are themselves therefore possessed by things, is forced to link its fate with the preservation of this reified history, that is, with the preservation of a new immobility within history.7
This immobility is manifested in pseudocyclical time, a commodified temporality that is homogenous and suppresses “any qualitative dimension” or, at most, mimics such dimensions in moments of sham liberation.8 For Debord, time-based art from the 1960s could consist only of such pseudoindividual, pseudoliberatory moments ...
The latest edition of Abandon Normal Devices (AND) Festival has jumped across the Northwest UK from Liverpool, where it debuted last year to Manchester. In its second major urban manifestation, after a small rural retreat in the Peak District, the festival followed its previous format and presented exhibitions, performances, cinema screening, talks and workshops across cultural venues in the city. Seeking to agitate, AND’s theme of questioning normality in various forms was represented in Manchester with a focus on identity.
The Retrospectroscope was made using a single sheet of Plexiglas 5 ft. in diameter, and was mounted directly on a stand and illuminated from behind. As an optical device, its function was to create the illusion of movement utilizing large format still images. The "Retrospectroscope" apparatus has gone through many incarnations, its presence belies the processes that have created it. As a pre-cinematic device, it traces an evolutionary trajectory, encircling the viewer in a procession of flickering fantasies of fragmented lyricism. This re-invention simulates the illusion of the analysis of motion to recall early mysteries of the quest for this very discovery now taken for granted; the "Muses of Cinema" represented by the female figures on the disk, have emerged from a dark Neoclassical past.