Omer Fast – The Casting (2008, 38 MB, 3:29 min)
Omer Fast, discusses his 2008 Whitney Biennial work, The Casting (2007),
a four-channel video featuring a young American army sergeant who recounts
two stories
Category Archives: new media art
Omer Golan – Religion
Religion (2010, 8 MB, 1:28 min.)
“‘Religion’ is based on a language text corpus containing about 140,000 words.
With Cycling74’s Max/Msp/Jitter, I created a virtual canvas for my video that is
covered with random text from the corpus. Then used this canvas to mask a clip
of animation that I’ve prepared for that purpose, allowing only text to appear where
pixels in the original animation were moving. My goal was to give the entire clip
random text textures that are aesthetic, recognizable and unreadable.”
By Omer Golan. Sound collage: Itamar Kav Tal.
Oliver Laric – 2010 Clip Arts
2010 Clip Arts (2010, 20MB, 3:21 min)
Stunningly executed, but, for me at least, somewhat vacuous
sequel to his 787 Clip Arts of 2006.
From oliverlaric.com
Array – United Visual Artists
“Array is a field of columns set in the courtyard of the Chuya Nakahara
Memorial Museum in Southern Japan. The columns create a field of
light and sound which gently shifts in response to the viewers
Curt Cloninger –TOM#2
Touch Me (2011, 562KB , 2:00 min)
Hear Me (2011, 12MB, 1:11 min)
Second two parts of TOM (an instrumental rock opera remix in four parts)
by Curt Cloninger, of which we posted the first two last week.
Tony Oursler – Studio: 7 Months of My Aesthetic Education (Plus Some)
7 Months of My Aesthetic Education (2005, 14 MB, 1:45 min.)
Speed up documentation from Tony Oursler‘s installation, “Studio: Seven Months of My
Aesthetic Education (Plus Some)” at the Metropolitan Museum of Art in 2005.
It combined video, sound, music and poetry to create environments that truly reflect the dissolving
boundaries of twenty-first-century culture. The work is inspired by Courbet
Thomas Bayrle – (b)alt
“Thomas Bayrle has been pursuing the concept of developing ‘superstructures’
from encapsulated image patterns since the 1960s. He uses it for drawings,
photocopy-montages or film animations, at first needing to work painstakingly
by hand. It is now possible to process images like this more or less automatically
by computer. Thomas Bayrle meets his grandson in the computer-animated video
‘(b)alt’ and uses interconnecting, superimposed image patters to address the
sequence of human generations sensually as well as metaphorica”
From Media Art Net.
Annie Abrahams
Mutant #2 (2010, 64MB, 4:04 min)
Annie Abrahams is a singular and compelling voice, her singularity
ironically copper-bottomed by her willingness to embrace the network
& collaboration thereon fearlessly, inquisitively and to always
striking effect. This piece is described as a video arising out of
the second session of a
“Telematic Performance / Experiment investigating communication and
relational dynamics in a dispersed group.”
and it’s bewitching.
The pages documenting it bear the motto
“Communication is never clean, smooth and transparent”
True – and to turn that truth into crystalline & affecting art is a little miracle.
Curt Cloninger –TOM
Feel Me (2011, 11MB, 1:03 min)
Two parts of a rather good new work –
TOM (an instrumental rock opera remix in four parts)
by Curt Cloninger, of whom we are fans.
He remixes the 1975 film of the Who’s rock opera Tommy to striking effect.
I can’t imagine crossing the road to see the original, even for free, but
here Curt’s sense of beauty, drama and balance – which have served him
well in a number of works and projects involving remix/appropriation, notably
his fantastic playdamage project –
redeem banality to something genuinely affecting.
More next week.
Omer Golan – Non-Linear Creation
Non-Linear Creation (2010, 58 MB, 3:16 min.)
Installation at ‘Fresh Paint 3‘ in Old Jaffa Port, Israel. the project is based on a live
camera input where the video camera is mounted above a the projection screen.
“The thought behind “Non-Linear Creation” is to think about video as some sort
of a “streaming deck of cards” which I shuffled again and again in real time using
Cycling74’s Max. I collected in a memory buffer the latest 60 cards/video frames,
shuffled them and played the outcome in 30 frames per second. The result is a video in
which the viewer is in constant, unnatural, flickering present, as it is reflected in the video.”
By Omer Golan.