Imagine This is an audio mash up of GW Bush singing the John Lennon classic "imagine", it has been a worldwide hit and has made it into (John Peel's) BBC Radio 1 Music Festive 50 on UK Radio 1.
The audio was produced by Waxaudio, I created a video for it by tracking down over 40 separate video clips from George Bush speeches, I lip synched these clips to the audio and interspersed them with footage from the original imagine Video, along with some Iraq war footage and some other bits and pieces. This creates a powerful and moving, yet humorous visual accompaniment to the track. It also makes a point about rhetoric and vernacular
GilbertandGrape are (UK/N) performance duo Anne-Marte Eidseth Rygh and Helen Pritchard. Every second Thursday of the month a three minute film was sent to our blogg. People we met were given a list of rituals from which they choose one to perform and film.
What interests us about rituals is the opportunity for implicit multiple meanings, their 'ungrammaticalness' and a form of response to the nature of the web. By collecting the films over a three year period and screening them in relation to eachother We hope to create a sense of fictional continuity.
Mirage reflects on August 6th 1945, the day the atomic bomb was dropped on Hiroshima. The first part represents an infants close-up view of things, with touchable objects, bright colours and nursery rhyme-type attempts at understanding a comfortable world. The second part is black and white; it represents the destruction of Hiroshima with photographs of the obliterated city and descriptions by survivors. Both views of that day are in a sense a mirage: one too limited to be real and the other too awful to be real.
Tenderly Yours resituates the personal, casual and ambiguous approach of French new wave cinema in a net art narrative that explores love, loss and memory.
The story is recited by a striking and illustrious persona, who moves through the city with her lover. Her willful independence is intoxicating, though her sense of self is ambiguous and a fear of intimacy consuming. Then, one day she suddenly disappears. Her lover is left bewildered and is posed to question whether she is a fiction, who fades with every passing recollection. At this moment, her face reappears only to be united with that of a movie actress, whose striking resemblance further questions the certainty of her existence.
Here we encounter a series of filmic doubles, of French new wave cinema rendered as net art and in turn, of net art as cinema. Furthermore, there is a doubling of realization, of love at once found but then gone, and of the real and imagined states of loss.
Everything is purged from this web site but art, no ideas have entered this work
The 12hr isbn-jpeg project
Serial eccentric continuous hypermodern imagery posted online since 1994
The contemporary identity is characterized by its indetermination and its trasversality its evanescence and untouchability. Showing itself to the world it is never present but always elsewhere. The project is meant to show how we can swap from unique to manifold and the other way round. The application selects casually an image from the record of photos and, sets a pixels of it on the stage. The result is an image created by arrays of pixels drawing or tending to configurate in a casual way an inexistent identity.
5883 Sectors of Structure is a personally mapped timeline of information gathering and order.
It maps both graphically the time spent filling out and researching personal family information for a collection of application forms that were required while applying for a NZ residency permit.
It starts with the IP address of the NZIS website (on our intital contact) and ends with our successful application number.
mimoSa is a continuous workshop that moves around Brazilian cities collecting people's stories using recycled and reconstructed technologies. The aim of the workshops is to design a machine capable of altering the Brazilian mediascape. During the workshops a group of artists, programmers, and activists create and operate this machine. The machine records stories, stores them in a database, broadcasts them on FM, and records them to CD. It also prints telephone numbers and instructions on city streets and walls so that people passing by are able to access the stories via their mobile phones. mimoSa maps
these activities via its web portal from which visitors can access both audio and video interviews.
System for Multiple Compositions on a Theme is a series of videos shot and edited on analog equipment in 1995 for the sole purpose of experimenting with editing video to create audio compositions. Rather than the norm of composing a video, the image, into a sequence, here the audio was composed and the accompanying image became incidental, secondary.
The re-presentation of the video experiments on the internet not alone document and expose them to a wider audience than the original analog cassettes but also serves as a means to progress the early video experiments as a website experiment.
The network provides a means to reconfigure the way the work is viewed by changing the artist's (sole author of the art work) relationship with his audience. The artist, rather than defining a narrative, defines a framework for the art to work within. Experimentation with methods of sending, retrieving and presenting information on the internet, such as the use of html forms and server side scripting allows him to this time construct a system for controlling / viewing the art work rather than a simple art work that is to be viewed. The spectacle of cinema and its audience is replaced with individual user's separated and distributed across many spaces / places as co-author's / contributor's to their viewing and interpretation of the artists work.
The composition creation interface on the website, allows users to actively participate in the composition of the experiments and experience an approximation of the act of originally editing these experiments by the artist. It consists of a grid of nine positions, three across and three down, where any position on the grid can be occupied by any of the nine videos any number of times. This gives a possible 2318107019760 combinations, where...
18 + 182 + 183 + 184 + 185 + 186 + 187 + 188 = 2318107019760
Videos can be given a parameter to loop, loop back and forth or not loop. Lag, download speed on the internet, as well as video duration is used as a means to vary how the videos will display / sound within the website creating an overlap that is never quite the same.
How do different places become interesting? In Surreal Scania digital video and GPS-units has been used to look into how aura and attraction are connected to different places. A number of points in the Swedish region Scania were visited. On the locations video material for six short films was shot. All the films are accompanied with files containing the exact geographical coordinates for all the different places. Using a GPS-unit it is possible to visit the locations where the visual raw material was shot. Hereby we want to explore different visual representation techniques, and processes of place marketing.
minimum is a web based visual struggle: lots of question, sometimes answers, nearly a few solutions, above all investigations of differences between visual narrative solutions
Src is a blog of images: images are shown as mosaics of details, each then visible in entire. The blog is divided in two parts : "Public" where anyone can post an image and "Private" only modified by RD.
Talking-Walls is a dynamic website exploring the visual language of wall and street markings.
When Oleg Marakov pointed out the similarities between his piece of randomly arranged music Islands and my random movie creator Flickeur it was immediately clear that a combination of both projects would definitely result in something very interesting.
The result of this fusion - Islands of Consciousness - is not a simple combination of the two concepts but a great advancement. Sound and Images enter a very close relationship in which the randomly arranged musical phrases are taking direct influence on the visual outcome. So when you look at this piece keep in mind that all the visuals are assembled in realtime using photos downloaded from Flickr.com. All the transitions and effects are entirely random and only happening on you screen. Other people will see a movie and hear a soundtrack that is totally different from yours.
Whilst the basic idea of Flickeur - an endless virtual videoloop that is in perpetual metamorphosis - has remained I have altered the visual engine and the image selection algoritm in many aspects. I have added several new elements to the visual grammar and there are now permanent as well as temporary manipulations applied to the material. The selection of the images is not totally random but follows an associative stream-of-consciousness rule - each new image shares at least one tag with the previous one. As you will see this creates a visual rhythm that follows certain thematic patterns. Sometimes the story seems to get caught for minutes in a monothematic impasse but then suddenly it escapes it and heads into the strangest compositions of seemingly non-related topics.