Brody Condon has uploaded two videos documenting LevelFive, a live action role-playing game/performance modeled after 1970s self actualization seminars such as Erhard Seminars Training. (The LevelFive site provides a clip of one of these sessions, from Adam Curtis' documentary Century of the Self, here.) Participants, all of whom are volunteers, take up a character for the entire duration of the weekend, and engage in a series of intense self-actualizing exercises and seminars as this person. Similar to Condon's previous project TwentyfiveFold Manifestation, the immersion and duration of the game work plays on the "bleed" between the participant's original self and that of their character. LevelFive took place at the Hammer Museum of Art from September 4-5, 2010 and again at the San Jose Convention Center on September 17-18, 2010, during the Zero1 Biennial.
If our eyes were to be turned into a camera, it would be a rather poor device. More precisely, it would not resemble a single-frame snapshot camera, but a video stream of a mostly blurred visual field with only spots of clarity. Our eyes move rapidly and continuously update the image in the brain, and it has been concluded that the brain, resembling a high-tech processor, cleans up the received input. Paradoxically, one of the functions of photography is to remind us of the impossibility of our eyes to perceive reality as a still image - as the saccadic scanning of our eyes show, there is nothing fixed or stable in nature. Matter is always in flux.
In his artistic practice, Rune Peitersen explores precisely this aspect of the visual apparatus through a research project he started two years ago. This summer, he presented the most recent series of his results in Ellen de Bruijne Projects in Amsterdam, in a show entitled “Saccadic Sightings: Einstein and Bohr.” In a secluded room, one was able to indulge in the three main elements of the show: a short text on Einstein and Bohr, Observing Uncertainty - an enigmatic large photograph of a hallucinatory scene covered with a map of small printed squares, accompanied by Observer Effect - a series of smaller black photographs with dots of visual clarity representing each of the square from the large photograph.
16777216 is a new online work by Richard S. Mitchell, a San Francisco-based artist with a background in video. 16777216 is viewable through the Jancar Jones Gallery's website from August 28th until September 4th, click here to see it. The work consists of over 16.7 million frames, each a color in the RGB color model, displayed at 25 frames per a second. Colors are displayed when the web browser synchronizes with the server, where the colors slowly move from black towards white.
This sculpture generates a three scene narrative with the scene lengths and order controlled by a mechanical randomizing mechanism which is also part of the sculpture. All video and audio switching occurs via mechanical switches.