There is a deeply confessional element involved in our private interactions with technology. We confide in machines because the illusion of their detachment creates a false sense of anonymity. Transmissions examines how automatons facilitate interactive fantasy realms in direct response to our unspoken emotional projections. The virtual dream space aspires to be a reflection of the individual but is not autonomous. Fallout data arbitrarily collides and resonates within a larger network of users. This network can be thought of as a sentient organism, one that feeds and redistributes our collective subconscious.
Produced by WGBH-TV in Boston, the Medium is the Medium is one of the earliest and most prescient examples of the collaboration between public television and the emerging field of video art in the United States. WGBH commissioned six visual artists Allan Kaprow, Nam June Paik, Otto Piene, James Seawright, Thomas Tadlock and Aldo Tambellini to create original works for broadcast television. In pursuing their individual aesthetics, these artists produced works that explored the parameters of the new medium, from image processing and interactivity to video dance and sculpture.
Produced by WGBH. Executive Producer: David Oppenheim. Producers: Ann Gresser, Pat Marx. Director: Fred Barzyk.
Tender Prey is a modular, synchronized 3 to 6 channel video and sound installation expansion of an earlier work "Organic Urbanic" from 2002. Inspired by satellite images, urban plans, kaleidoscopic examinations and signal interceptions. It is a cortex of an imagined city. Aerial videos are joined into science fiction panoramas, in-versed fields of digitalia and disquiet, scenarios of urban out foldings forming metallic robotic ornamentations. Tel Aviv is the dirty digital city behind "Tender Prey". It is featured in ultrasonic transparency, amplified, duplicated and warped.
Ana Maria Tavares is known for installations employing materials such as steel, glass and mirrors. Resembling architectural structures, her installations call to mind the artificial, emotionally vacuous atmosphere of airports, office buildings, and other forms of urban architecture. Through her re-deployment of industrial architectural materials, such materials lose their function, and viewers are subtly thrown off balance in their physical experience and sense of time. Recently, Tavares has been creating films in which steel columns connect with stairways running in all directions. By introducing reflections she renders the space in the films all the more complex. Airshaft (to Piranesi) (2008) examines the realities of human circulation through anonymous urban spaces as found all over the world. The video depicts a modern architectural space in the manner of the complex, labyrinthine expanses depicted by the 18th century Italian artist Piranesi, but wavering fluidly like a mirage. The chaos of Brazil’s enormous urban spaces is reflected here. Tavares’s videos produce an encounter with “somewhere” that is not quite “here” and make us aware of how unreal our reality can be.
Rachel Perry Welty’s video shows a frontal head and shoulders view of the artist herself lip-synching to messages left in error on her telephone answering machine. Welty uses expert timing and facial gesturing and maintains a priceless deadpan expression during the intervals between messages. Karaoke Wrong Number reveals the simultaneous connections and disconnections of contemporary life, where technology both assists and impedes communication.