Curated by Leah Beeferman and Matthew Harvey, Parallelograms is a new online publication. For the project, Beeferman and Harvey invite an artist or collective to creatively respond to an image found online. The featured artist changes from week to week, and so far, they've worked with seven separate artists, including Everything Studio, Stephen Vitiello, Jibade-Khalil Huffman, Mary Manning, Will Shapiro, Potential Estate and Duncan Malashock.
Every day an incomprehensible number of new digital media files are uploaded to hosting sites across the internet. Far too many for any one person to consume. Infinite Glitch is a stream-of-conciousness representation of this overwhelming flood of media, its fractured and degraded sounds and images reflecting how little we as an audience are able to retain from this daily barrage.
Infinite Glitch is an automated system that generates an ever-changing audio/video stream from the constantly increasing mass of media files freely available on the web. Source audio and video files are ripped from a variety of popular media hosting sites, torn apart, and recombined using collage and glitch techniques to create an organic, chaotic flood of sensory input.
-- FROM THE ARTIST'S STATEMENT
At this point in time, it is easy to admit that we are living in a state of "etherialization." The primary characteristics of this state, as recognized by Arnold Toynbee, were that "cultures that remain static and uncreative in the human sphere often promote ingenious technical adaptations and inventions, whereas more creative cultures transmute their energies into higher and more refined forms […] their technical apparatus becomes progressively dematerialized." 1 The evidence of this is with us, simultaneously everywhere and nowhere, in the form of the internet, and also in the proliferation of increasingly miniaturized multi-purpose devices with a decreasing number of moving parts. From iPods to Oracle Database, internal organization becomes gradually more complex as the external, tangible and even visible becomes more superfluous, more symbolic than purely functional.
The Internet and the concurrent reign of digitalization are, however, just symptoms of etherialization - if particularly infectious ones - and not necessarily the driving engine of this state of affairs. The objectives of modern warfare, for example, are achieved by launching successful "psy-ops" campaigns or "p.r. offensives" which gain the international community's sympathies via successful transmission of images and sounds. Destruction of physical sites and human bodies is as cruelly present as ever, yet non-combatants' parsing of "etherealized" media imagery is no longer a sideshow to the "main" objective of laying waste to enemy infrastructure. Even terrorism, often used as a substitute term for asymmetrical warfare using "low-tech" improvisational means, regains a "symmetrical" standing here by utilizing the most high-tech information relays to accomplish its own aims: tactically, it succeeds not only because of its jolting suddenness, but because terrorists "...[schedule] their bomb blasts on time to catch the evening news…the explosion only exists because it is simultaneously coupled to a multimedia explosion." 2
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
Gloria Maximo - Director, Painting
Jonathan Turner - Director, Animation
Shawn Maximo - Architectural Design, Sculpture
Kate Rosko - Musical Director, Piano
Joseph Fraioli - Sound Designer
Megha Barnabas - Movement
Jason Farrer - Movement, Sculpture
Busy Gangnes - Movement
Paul Kopkau - Movement, Sculpture
Heather Kosch - Movement, Sculpture
David Santa Maria - Sculpture
Laura Foxman - Writing
Mary Voorhees - Graphic Design
Black Cracker - Vocal Engineer
Peter Zuspan - Audio Installation
Shannon Funchess - Vocals
Nina Mehta - Recorder
Natalie LeBrecht - Vocals
Mick Barr - Guitar
Abby Portner - Drum Machine
Colin Marston - Guitar
Lev Weinstein - Drums
Ultra-red is an activist art group founded in 1994. The group proposes an alternate model for art and activism, one in which it is not the artist's critical intervention that serves as the source of cultural action, but rather that art might contribute to and challenge the process of collective organization and relationship building itself.