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Artist Presentations

Page history last edited by north 14 years, 10 months ago

Andy Clifford

Alvin Lucier


Alvin Lucier (born 1931) is a highly influential figure from the 20th centurty, pioneering the integration of acoustic and also natural phenomona into his work which often thinly treads a line between science experiment, sound installation, and musical performance without really being clear as to which one it is most akin.  He currently teaches at Wesleyan University, in Middletown CT, where I have had the opportunity to meet and study with Alvin for a short time, as well as help install one of his pieces at a gallery in Hartford, CT.  In their lean, concise, and elegant presentation, his music/sound installations frequently stand as close to (perhaps only a few centimeters to the left) of their platonic ideals as humanly possible, yet at the same time their elegance and simplicity evokes a sort of grounding of these platonic objects as if they are almost in disguise amongst us.  There is something about this type of work that is to me, very immersive and absolutely beautiful while at the same time completely rooted in scientific and acoustic exploration.  Many times I feel as if Lucier's work unhinges some of the ridgidness of the scientific world by making what could be a physics experiment into a very profound and exciting display of natural phenoma encased within elegant sound sculptures.  However at the same time, when experiencing one of Lucier's pieces, the only thing that comes to my mind is a pure elation at the beauty of how sound physically interacts with our world and the ingeniousness of setting up a system that has only what it needs and no more to communicate something that is beyond the physical nature of the piece.




Music on a Long Thin Wire

Score for Music On A Long Thin wire






Music for Pure Waves, Bass Drums, and Acoustic Pendulums 

Score for Lucier's Music for Pure Waves, Bsss Drums, and Acoustic Pendulums



Score for Lucier's Chambers


Ben Taylor

Andy Deck



More on Andy Deck: http://artcontext.net/ and http://andyland.net/


Key ideas I take from his art: 

- evidence not only of myself but of previous viewers

- an artwork that is alive and changing over long periods of time

- an empty structure into which user-generated content is placed

- that art is not (at heart) something that is bought or sold but something in which we all take part



"So much of the contemporary experience of the World Wide Web is searching and sampling of the unfinished, insufficient precursors of what one may expect tomorrow.


... most are occupied with looking, searching, and waiting rather than with dialogue, synthesis, derivation, and playful production.


... If Internet art overturns the paradigm of broadcast and allows reciprocal communication between transmitter and receiver, what becomes of curation? Is the curator then a moderator? An artist? A programmer? 


... Like theater, software has the potential to stage the contradictory processes of dramatic presentations, and to allow people to learn by the acting through of situations. But it also has the potential to forestall such imaginative investment, and interpretation, leading users through a succession of preselected hierarchical hoops."


from "In Search of Meaningful Events: Curatorial Algorithms and Malleable Aesthetics" by Andy Deck 


Maria Michaelson

Reubin Margolin:

Local Kinetic Artist


I first became interested in the artist because of his 1994 work- The traveling commons





Current works- The wave series

Waves Portraits Rickshaws Other Work Contact / Info
Yellow Wiggle
Video | Photo 1 | Photo 2 | Photo 3
Yellow Wiggle
2008 - 6' x 18 'x 10' - wood, aluminum, string, electric motors.

The Yellow Wiggle adds a three-peaked sine wave to a four-peaked sine wave. Each of the 120 aluminum rods has a pulley on the bottom, which adds together the movements originating in the two large rotating circles. On the top of each aluminum rod is a yellow block of wood.



Conner Lacy


Cai Guo-Qiang














(2:30 - 3:30)



Ted Levine

Artist Presentation: Olafur Eliasson


Olafur Eliasson creates works that pull the viewer into the piece, making the viewer's experience part of his art.


Beauty, 2007.



360° Room for All Colours, 2002.



Take Your Time, San Francisco. 2007.



BMW H2R project, [-10°C], 2008.


"I think the task is to reintroduce time as the key producer of our experiences. Reality then becomes temporal reality. This reintroduction will give us the possibility to perceive the car and the consequences of driving in relation to our own bodies. No longer merely a vehicle for transportation, the car will go beyond pragmatic reflections of advancing from A to B and establishing the ‘right’ social image for the driver." (Foreword to Olafur Eliasson: Your mobile expectations; BMW H2R project.)




The Weather Project, London. 2003.



Eliasson commented on his idea of how users see his art, saying:

"The key issue is the role of the engaged spectator or user. The question is whether the activities or actions of that user in fact constitute the artwork. Let's say that without the participation of the user there is nothing. This is not a new idea, but we need to take it to the point of saying that the user is the source of the artwork. And the psychology - the memories, expectations, moods, and emotions - that a person brings to the work is an important part of it." (p.58 in Take Your Time: A Conversation with Olafur Eliasson and Robert Irwin)



Pre-Sketches For Exhibit




Room For One Color & The Curious Garden, 1997.




Jeff St Andrews

Artist Presentation:






i guess this is not actually a real piece but was superimposed into the landscape as an example of what it would be like to put a sculpture there...interesting idea... http://www.youtube.com/watch?v=LeBiqVJrJ08


Naomi Rivera C


  • Hussein Chalayan born 1970 island of Cyprus. Political unrest between the Turks and Greeks. 
  • Hussein is a conceptual artist and fashion designer. There are social and political meanings to his creations. He is particularly interested in nation state, cultural identiy, migration, and nomadism. His works are mostly in fashion and film as well as conceptual installations. 
  • Moved to London and graduated Central Saint Martins with "The Tangent Flows" his collection that involved him burying his designs in the ground with iron filings only to dig them back up after 6 wks, which created a rusted finish on the garments. This collection set him apart as the new post-modernist fashion designer. 
  • His first collection out of college for London fashion week drew on philosophical and scientific theories. The pattern cutting involved complex math formulae and the fabrics were printed in minimal music score. 
  • Influenced by Pierre Cardin and Paco Rabanne for being some of the first two designers out of the 1960's that did not follow Paris's example of fashion but looked upon architecture and technology for inspiration to fashion design. 
  • Film is often used to further demonstrate his visions and inspirations for his designs. One such film early on was for his line "Geotropics" in his 1999 collection where he created a microgeography of the body in a computer animation that morphed together national costumes from different dates and places along the 2000 year old silk road from China to the West. 
  • He began using LED lights in 1995 for "Along False Equator" 

  • In 2000 he built 3 monumental dresses that used technology from the aircraft industry. One of these dresses contained a concealed battery, gears, and wheels activated through an internal switch by the model wearing it, so that sections slid out like moving parts of an airplane. Another of the dresses was pink in the same material but controlled by a young boy standing near her, using a remote control.  The inspiration for this was drawn by many ideas of flight and journey but also 

    by a film by Marcus Tomlinson called Echoform where comparisons are made to a woman and airplanes that represents modern progress and mobility. 
  • His 2003 film "Place to Passage is a film he made with some computer animation involved that ideas about how technology will take us places where we can no longer return. Ideas of comfort, familiarity, and nostalgia and anti-nostalgia are redefined. One can not return to home because they are home. Home is where ever they are. As well as futuristic visions of what life can or may be like in an alternate reality. 



  •  Hussein has continued to use technology for his most recent collections as can be seen below. 








Here he explains the methods to his madness for his 2008 collection:

Here is another film of his 2008 collection with the use of lasers reflecting from crystals and mirrors.

YouTube plugin error


A quick clip of his video dresses plugged into the wall! Not sure if this is intentional. I imagine he could have achieved the same results with out the use of an electrical plug. It would be interesting to find out for sure. 

YouTube plugin error


Very interesting use of silicone to shape the dresses into the illusion of flight and movement. Some use of fans blowing and the music helps create this illusion further. 

YouTube plugin error

















        "A smart artist makes the machine do the work!"




The German artist Cornelia Sollfrank, (born 1960, in Feilershammer, Germany) studied painting at the Academy for Fine Arts in Munich and Fine Arts at the Hochschule für bildende Künste in Hamburg. She later pioneered in the digital art realm in the mid 90s, working in a fashion that became known as Cyberfeminism. The new media arts were (and still are) a male-dominated business, something that Cornelia Sollfrank set out to change and address through her work as a hacker and conceptual net artist.


One of her most famous pieces is “Female Extension”, a piece she did for the Galerie der Gegenwart at Hamburger Kunsthalle in 1997. The net art exhibition was a jury-elected exhibition (actually the first of its kind that genre) where artists could submit their work. Her piece was a computer program that collected material from the Internet and created new pieces of art and a fictive female artist for each piece. “Female Extension” generated more than 200 international 'artists', all taking part in the competition. Neither the jury nor the Kunsthalle discovered the hoax; instead they were pleased with the huge number of entries and proudly declared that two thirds of the contributions had been submitted by women. Since then the program has been developed into five different versions, gen_01 through gen_05, and for the “Unlimited Edition” exhibition (Mejan Labs, Stockholm 2009) the spectators were able to create their own images using Andy Warhol’s well-known flowers.





 The Mode is the Message — the Code is the Collective!

Old Boys Network


“OBN contributes to the critical discourse on new media, especially focusing on its gender-specific aspects”


Sollfrank was also, together with Ellen Nonnenmacher, Vali Djordjevic, Julianne Pierce, one of the founders of OBN, the Old Boys Network. The OBN was founded in 1997 in Berlin as an international Cyberfeminist coalition, continuously changing as the members change. It’s intended and used as a place and a space for cyberfeminists to research, communicate and act.

There are four requirements to be met in order to become a member of the OBN. The first is that the artist refer to herself as a woman (regardless of “the biological case of this intelligent life-form”), the second to be understood with the functions of the organization, meaning no leader and the other two, well check them out here!


OBN published “First Cyberfeminist International” (1998) and “Next Cyberfeminist International” (1999). The Cyberfeminist Internationals are the AFK (Away From Keyboard) meetings of OBN. Cornelia Sollfrank also founded the artists groups “frauen-und-technik” (Woman and Technique) and “-Innen” (Inside) and is the webmaster of artwarez.org and obn.org. In 2006 she started a series of pieces “Revisiting Feminist Art” where she re-enacts earlier feminist works, such as Niki de Saint-Phalle’s “Peinture au fusil







Alan Chin

As for the artist I choose, I decided to pick Tim Hawkinson, for his incredible usage of art and technology.








Kirby McKenzie

the swimming cities of serenissima






The Swimming Cities of Serenissima is a fleet of three intricately hand crafted vessels that will navigate the Adriatic Sea from the Litoral region of Slovenia to Venice, Italy in May of 2009. Designed by the visual artist SWOON, the floating sculptures are descendants of the Swimming Cities of Switchback Sea (Hudson River, 2008) and the Miss Rockaway Armada (Mississippi River, 2006 and 2007).

SWOON’s boats are inspired by dense urban cityscapes and thickly intertwined mangrove swamps from her Florida youth. The Swimming Cities of Serenissima are built from salvaged materials, including modified Mercedes car motors with long-tail propellers. The boats’ crew is made up of 30 collaborating artists from the United States.




interact with the people and world around you; try to take responsibility for you’re your actions and your life; Our friend amylin says, ‘be realistic: demand the impossible.’ Some of us like to model risk-taking behaviour (the good kind). Some of us just like banging nails in things. Some of us are into kinetic sculpture – some performance and music, some think they know about boats. Some like figuring things out. Some like meeting people and partying. Some like sitting by themselves. Some like painting and wheatpasting, and cutting paper. It all kind of fits together into this thing we’re doing as a group of friends and collaborators.


Dustin Boudreau

For my artist presentation I have chosen to present Christine Sugrue.


There isn't a lot of information about Christine on her website, however I found her by looking at the line up of exhibitions at the New York Electronic Art Festival.  All of her work is extremely interactive.  One piece that I was particularly intrigued by is called "Delicate Boundaries".  I'm not sure of the technology she is using; from what I can tell I think it is called openFramework or something.  It's best just to show the video of Delicate Boundaries:


Delicate Boundaries from csugrue on Vimeo.


And if there is time, here are some images of her other work:


waves to waves to waves: human generated electromagnetics waves captured and converted to electrical signals for projection.


a cable plays: an audio-visual performance where two performers appear to be engaged in a strange game or ritual.


There are many more projects on her site, please check them out! http://www.csugrue.com.




Katy Chmura

Technology making success possible for artists













Erica Dincalci

Artist Presentation: Natalie Jeremijenko






BIT Plane

Suicide Box

Feral Robotic Dogs


Natalie Jeremijenko is an artist, engineer and environmental activist whose background includes studies in biochemistry, neuroscience and art.

She is currently a teacher at NYU in art, and a visiting instructor at Royal College of Art in London.

Her work is described as experimental design. It explores new technologies for non-violent social change.Her early work centered around technology and it’s interaction with people the environment, where her more recent work focuses on artistic and technological ways to address environmental issues.

Some of her projects include robotic toy dogs that can detect toxins in the environment.  A plane with a camera attached to do remote surveillance, and the biotech hobbyist magazine, which describes and instructs how to make tree clones and skin cultures.

There are a couple of projects that I am choosing to focus on, the first being the BIT Plane.


BIT Plane

The BIT Plane is a project that was made by an agency that Natalie started called the Bureau of Inverse Technology focusing on information. The BIT Plane is a highly compact spy plane, equip with video-instrumentation that can fly over areas of interest. The plane flew over the Silicon Valley California in 1997, viewing the buildings of Apple, Netscape, Atari, Hewlett Packard and Yahoo, which are all no fly zones.  Keep in mind this was before Google earth; in fact it was before Google even existed.





BIT Suicide Box

The BIT Suicide Box is a motion detection video system designed to capture vertical activity. Any vertical motion in frame will trigger the camera to record to disk.

“Bureau installed the Suicide Box for trial application in range of the Golden Gate Bridge California 1996; an initial deployment period of 100 days metered 17 bridge events. The Suicide Box system supplied public, frame-accurate data of a social phenomenon not previously accurately quantified.”



BIT Robotic Dog

The robotic dogs are toys that were repurposed by the Bureau as a functional gamma source detector agent. The dog will identify and ambulate accurately towards any radioactive source over EPA threshold.

The feral robotic dogs are designed to “patrol” sites of public interest like schools, parks, and industrial sites, in order to generate community and media attention on the issue on contaminants in the environment.





The last project of Natalie’s that I want to talk about it the Neologues. This was an exhibition of a series of functioning voice chip and speech recognition-based devices. These alternative designs challenge our everyday actions and turn them into interactive exchange.

Light Switch Interface

This is a light switch actuated with your voice rather than your finger. In order to toggle the switch, you have to put your hands on your temples and say the words "mind power”


Elevator Interface

This project is an elevator plate you operated by saying "up" or "down." The only trick was that you had to say these in Spanish, which wouldn’t get most people very far.


All together Natalie’s projects are humorous, while also touching on issues of environmental hazards, health concerns and dissemination of information.




shendra stucki

Artist presentation: JaNe WEbB


At present his experimental sculptures and installations are influenced by technological advancements in the area of prosthetics and cybernetics. For example, the rapid human advancement in cybernetic technology, at the Southampton University .



Jane Webb is an artist and curator who will be exhibiting a 4-5ft cube which was very much influenced by the Borg cube first introduced in the popular “Star Trek: The Next Generation” television series.

The work will be exhibited in one of London’s popular underground crypts beginning September 1, 2008 in a show titled “The illumini Event.”

Besides showcasing her own art, Webb will act as the events curator highlighting a mixed show of 15 other artists. The exhibition will have its theme based on light and will be available for viewing by everyone, including its opening night usually reserved for Pv. One the first night free live entertainment jugglers, light shows and fire performers will be on hand as well.

Webb designed her cube from recycled computer and electronic components. It is illuminated and the top of the cube will be a futuristic cyber-city made from miniature cubes cast in glass , metal and resin.

The piece of art is currently still a work in progress but you can get an idea of how unique her art is from the pictures.

Along with the cube, Webb will be exhibiting her cybernetic humanoid sculptures which will illuminate the walls of the studio.

Some of her past works have appeared in the London Sci-fi Film Festival this past May.

She was part of a a group of 15 artist that had create an extraordinary exhibition of light in an underground crypt. It was in London, NW1 2BA (nearest tube Euston Station), exactli one year ago, from the 4th september to the 17th september 2008.

The artist group was composed by: Mercedes Altuna, Madi Boyd, David Chalkley, Vincenzo Di Maria, Lewis Hayward, Caroline Lambard, Jayne Lloyd, Liz murfitt, Adrian Navarro, Silviu Pascalin, Suzan Swale, Matthew Swift, Andrea Tyrimos, Jane Webb and Deon Winter.


This video is very amatorial....


This video show the work of jane webb during this exhibition.



She and his partners use tools such as computers and internet which extends the collective visual memory and other powers beyond what our human bodies are capable of. Initially technology was created as a time saving device and memory aids. However, we now appear to be co-dependent on them. Is technology acting like a virus destroying our humanity and turning us into cybernetic humanoids! His perceptions are that technology is speed, efficiency and enhancement. The mobile phone is like a portable life support machine, the average person already looking like a cyborg with a blue tooth attachment to their ear, a digital watch strapped to their wrist and plugged into an iPod. It does make you wonder how close we are to becoming cyborgs already!

See the site of the event: www.illuminievent.co.uk


This is the artist website: www.artistjanewebb.co.uk/



Artist presentation. 

Maybe most of the class have already experienced the craziness from burning man, it is so amazing to me, i really admire how lighting is used to create a totally different feeling from our reality, it's a place i really need to be.   









Carson Whitley



AntiVJ is a "visual label".


A "collective" of people working to get out of video's usual context, and create something more than just visuals on screens.


This is acheived by doing away with the traditional rectangle of video, and experimenting with projecting onto other surfaces: buildings, sculpture, paint, mosquito nets, plexiglass, glass, etc.


"We like to experiment with new nonlinear audiovisual languages, inspired by contemporary graphic design, abstract art, motion design and experimental cinema."

     This is perhaps one of my favorite aspects of digital technology. We no longer have to travel a line/path from A to B; we can now "teleport" or "fold space-time" instantaneously (relatively).


"The more you project onto objects, the more the object becomes as important as the projections. It's no longer about trying to project a video, it's about projecting to "play" with the object."

     Their integration of projection techniques and three-dimensional surfaces creates an entirely new object. It is no longer a building or sculpture with video on it. It becomes "alive", capable of movement/transformation.


They remind me of Max Neuhaus, only in that they adapt each installation to each place. The "space" is just as important in creating the piece as it is in executing/presenting the piece.


3Destruct:  http://www.crea-composite.net/anglais/biennal_LLN-english.html 



Other mapping goodness:

Apparati Effimeri, Tetragram For Enlargement: http://www.vimeo.com/5374101 (amazing)

Videogeist: http://vimeo.com/4931128

MXZEHN installation: http://vimeo.com/4635700

AntiVJ, television report on Breda Cathedral performance: http://vimeo.com/3078413


Justin Lum




United Visual Artists are a British-based collective whose current practice spans permanent architectural installation, live performance and responsive installation.


"Research and development is a core part of their process - enabling them to constantly explore new fields, as well as re-examining more established ones."


combining light, sound, and movement they create fully immersive spaces in which the audience can experience/interact with light in a more direct, intimate manner...


i appreciate the architectural quality of their work, the cleanliness of lines and forms, the locations in which they exhibit their installations.


their use of light is very stimulating, i would like to see their work in person and just space out..





Dean Schneider

Felice Varini












 felice varini


 felice varini


 felice varini


 felice varini


 felice varini






Felice Varini, Encerclement a dix




Sebastian Icaza


Stelios Arcadiou  aka       STELARC


an Australian performance artist whose works focus heavily on futurism and extending the capabilities of the human body. As such, most of his pieces are centered around his concept that the human body is obsolete.



Through Stelarc's work, we reach a second level of existence where the body becomes the object for physical and technical experiments in order to discover its limitations. When Stelarc speaks of the "obsolete body" he means that the body must overcome centuries of prejudices and begin to be considered as an extendible evolutionary structure enhanced with the most disparate technologies, which are more precise, accurate and powerful: "the body lacks of modular design," "Technology is what defines the meaning of being human, it's part of being human." Especially living in the information age, "the body is biologically inadequate."

For Stelarc, "Electronic space becomes a medium of action rather than information".



Stelarc connects his body to muscle stimulators that are controlled

by an external data system. He is not actually controlling his body.

He lets the audience control his body via the internet.




Explanation of how this piece works demonstrated on volunteers.



A six legged walking machine controlled by the artist hand gestures.


In his latest piece, Stelarc implanted a human ear into his arm. It was grown in a lab using cartilage. He plans to attach a microphone to the ear, and use bluetooth technology to allow people to hear from it via the internet.






Part of an interview to Stelarc in 1996



"CTHEORY: Now you've penetrated the body. You've hollowed it out, extended it, expanded it, hung it out a window, mapped out several miles of its interior. What is the next step?

Stelarc: It is time to recolonise the body with microminaturised robots to augment out bacterial population, to assist our immunological system, and to monitor the capillary and internal tracts of the body. We need to build an internal surveillance system for the body. We have to develop microbots whose behavior is not pre-programmed, but activated by temperature, blood chemistry, the softness or hardness of tissue and the presence of obstacles in tracts. These robots can then work autonomously on the body. The biocompatibility of technology is not due to its substance, but to its scale. Speck-sized robots are easily swallowed and may not even be sensed. At a nanotech level, machines will navigate and inhabit cellular spaces and manipulate molecular structures to extend the body from within."


Hope that day will never come.

Blaz Pirnat


The birth of a notion

Nothing in the Saatchi collection has aroused such wonder and delight as the work 20:50. This is its story, by the man who made it

20:50, Saatchi Gallery, July 2000

Wilson's 20:50. "The gallery is filled to waist height with recycled engine oil, from which the piece takes its name. A walkway leads from a single entrance, leading the viewer into the space until they are surrounded by oil on all sides." Photo: Sarah Lee

The idea of a Tardis-like space, where the internal volume is greater than its physical boundaries, had always appealed to me. That was how the idea for 20:50 came about. I've always been concerned with the ways you can change architectural space - whether it be a room or a whole building - to alter your perception, to knock your view of the world off-kilter.

The central idea finally came to me after weeks beside a swimming pool, during a holiday in the Algarve. I was due to make a new piece for Matt's Gallery in the east end of London when I returned, and over the weeks I became increasingly fascinated with the horizontal surface of the pool. One day it hit me, and I thought: "I know - I'll flood the place."

The oil became part of the piece because I knew it had a highly reflective surface. There had been a drum of the stuff sitting in my old studio, without a lid, that I'd been meaning to get rid of. In the meantime, all sorts of rubbish had accumulated around it, and I always loved the way that among all these bits of junk there was this void, this perfect reflection. That was the final piece of the jigsaw.

In 20:50, the gallery is filled to waist height with recycled engine oil, from which the piece takes its name. A walkway leads from a single entrance, leading the viewer into the space until they are surrounded by oil on all sides. The seemingly impenetrable surface of the oil mirrors the architecture of the room exactly, placing the viewer at the mid-point of a symmetrical visual plane. One of the first people to see 20:50, a man who was delivering paper to the gallery, asked me how he could get downstairs: he thought he was looking into another gallery beneath the walkway. When I dipped my finger through the surface of the oil, his jaw just dropped.

20:50 was first made 16 years ago. Matt's was probably the only gallery willing to do something so experimental at that time. This was, after all, the 1980s, and no one was really doing installation work: the trend was towards object-based sculpture. I remember the gallery owner hanging about nervously while I drove around trying to find waste oil and a pump I could use to get the oil into the tank. And then we looked at it and we were really astounded. We thought it would be good - but it was incredible.

Despite the fact that there were queues around the block right from the start, the great difficulty with something like this is selling it. It's still hard to place some of my work now, but back then, before Charles Saatchi came along, people would ask me perplexed questions like: "But how would you move it?" Charles saw it, and he just said: "I want that. Can you make me one?" He really was a pioneer: there were collectors of installations in other countries, but no one in Britain really seemed to understand that kind of work. Somehow Charles could make the leap of imagination that others were unable to make.

For me, that was a vital moment. It gave an important signal about the collectability of installation art, and allowed artists to realise that they could be formally ambitious and still find supporters for their work.

That's one of the reasons I'm so pleased to be reinstalling 20:50 at the new Saatchi Gallery. The work is very well travelled and has been re-created in Japan, America and Australia, among other places. It has been installed in various galleries and has taken on different characters because of that. But I think County Hall is probably the most unusual architectural context for it so far. Here, the piece is installed in an oak-panelled room with seven doors leading from it. The juxtaposition of materials and the way the piece removes the possibility of moving into any of the adjoining rooms is quite special.

This is the third version of 20:50 in London, and the interesting thing for me is going to be people's reaction to this version. Charles previously had it on permanent display at Boundary Road, and it was very different - very self-contained, in a way. The room at Country Hall is wonderful, with loads of light and reflection, and I've carefully tuned the work so that from the end of the walkway you can't quite see the sky above the buildings opposite, but it appears in the reflections. If it goes right, you should feel as if you were falling out into the sky.

I'll never forget the very first time 20:50 was made. I had a policy of refusing to tell people what the work was when they came to see it, because if you say, "Be careful - it's oil," you're influencing their response by telling them what to expect. But one day a Japanese woman came to the gallery in a white Burberry coat, carrying a baby wrapped in a white shawl. I looked at her gleaming white clothes, and for a moment I was really tempted to warn her. I hesitated, and she went into the gallery, and clearly didn't quite know what was going on. She leaned out over the oil, trying to work it out, and her hair plopped down and she immediately threw it back, all over the white Burberry coat. It was the most unbelievable mess.

I went in and took the baby, and gave her tissues and turps and apologised, and she said: "No, that was the most amazing experience I've ever had." I was stunned that she had been so blown away that the coat just wasn't important. Of course, if the oil had hit the baby instead of the coat it might have been another story.

Print this

Corey Lico Wolffs

Artist Presentation examples




Walter Kitundu has been affiliated with the Exploratorium Museum of Science, Art, and Human Perception since 2003, where he is currently a multimedia artist. Born in Rochester, he spent the first eight years of his life in Tanzania and then returned to Minnesota.


phonokora: West African 21-string Harp-lute



Melodic Rhythm Turntable


Koto: Japanese 13-string table harp with 13 moveable bridges


Kalimba Koto Phonoharp









Blue Steel Phonoharp


15 string phonoharp








Self-Sustainable Chair




Zipper Orchestra



The Polite Umbrella




Fold Loud

Erin clancy

Christian Marclay:






Carson Whitley


Artist Presentation: AntiVJ


AntiVJ is a "visual label".


A "collective" of people working to get out of video's usual context, and create something more than just visuals on screens.


This is acheived by doing away with the traditional rectangle of video, and experimenting with projecting onto other surfaces: buildings, sculpture, paint, mosquito nets, plexiglass, glass, etc.


"We like to experiment with new nonlinear audiovisual languages, inspired by contemporary graphic design, abstract art, motion design and experimental cinema."

     This is perhaps one of my favorite aspects of digital technology. We no longer have to travel a line/path from A to B; we can now "teleport" or "fold space-time" instantaneously (relatively).


"The more you project onto objects, the more the object becomes as important as the projections. It's no longer about trying to project a video, it's about projecting to "play" with the object."

     Their integration of projection techniques and three-dimensional surfaces creates an entirely new object. It is no longer a building or sculpture with video on it. It becomes "alive", capable of movement/transformation.


They remind me of Max Neuhaus, in that they adapt each installation to each place. The "space" is just as important in creating the piece as it is in executing/presenting the piece.


3Destruct:  http://www.crea-composite.net/anglais/biennal_LLN-english.html 



Other mapping goodness:

Apparati Effimeri, Tetragram For Enlargement: http://www.vimeo.com/5374101 (amazing)

Videogeist: http://vimeo.com/4931128

MXZEHN installation: http://vimeo.com/4635700

AntiVJ, television report on Breda Cathedral performance: http://vimeo.com/3078413

Andrea Williams



Loud Objects and Lucky Dragons are two groups of performers who both transform the 'tech workshop' into live musical performances that often

involve collaborative interaction with the audience. Sometimes the performance is reliant upon the physical interaction of the audience to complete the piece.





Loud Objects perform live circuit bending with microchip controllers, soldering irons, and an ol' overhead projector. 






Lucky Dragons, among other things, use “skin contact between performers (and audience) as a means of transmitting and controlling data and creating a positive social environment.” 



The Make a Baby project (2005– ) generates sound based on skin-to-skin contact: via conductive sensors knit into tapestries or handheld tubes and wired to his computer, Fischbeck “meaningfully interprets” frequencies sent through participants’ physical interaction into a series of digital feedback loops. As audience members surround Fischbeck or hold hands to stay connected, determining the crowd’s visual organization, he also distills these signals into animated representations of human motion that appear on a screen as colorful moving patterns.




Soft Sensing Materials:



Ryan LaBonte


I saw the art doc series art:21 over the summer and the section on Ann Hamilton's installation in the US Pavillion at the Venice Bienale. 

The piece consisted of falling colored powder from the floor to the ceiling. as it fell it filled in bumps in the wall that were inscriptions written in braille. 

For me, Hamilton created a moving painting, not a static work to be hung and collect dust, but an ephemeral, chaotic event in color, spreading its own dust into the environment. The material itself really inspired me, its brightness and delicate mass, the trace it left behind. I am very attracted to abstract things, spots, stains, drips, accidental strokes that acquire an aesthetic value just being there, through their anonymous history. 


I saw this piece as a visual pointer, a direction to take. movement on surfaces and in space and time. interacting with the viewer. moving.


side note: i want more of this in my life and in my art.


my interests are this: 4 dimensional painting and dub music.


in my search i was trying to find some interesting examples of these two different forms of art.

there were many examples of moving painting, but they were heavily digital looking, probably due much to the pixelation of the websites.

i really love the work of stan brakage. his abstract manipulation of film really insipired me to pursue the moving image. i see his morks as moving paintings, possibly projected on to large screens in place of canvas.


so i go bit by bit collecting elements of what i want to see in my work. more than just a video loop projected on a flat screen, i want to bring the art further out into life, with more texture, depth and tangibility. Interactivity adds even more to this experieince. 


i love dub. it has all the sunny vibrations of reggae mixed with the droney, psychedelic possiblities of electronic music.

for an exhibit i imagine a station where the viewer/listener becomes the selector, allowing them to mix and mash the music to their liking. There could be a bank of songs that when played would be represented visually by a time graph.

the person could slow down the tempo, loop beats, eliminate vocals or music, add dealy and other effects.

the ultimate would to make this someone work by sensors so you would have to move your body to make the changes.

throw in some funky red gold and green lighting, a plam tree and its all there.



Janet Cardiff and George Bures Miller




Janet Cardiff  is an audio & installation artist from Ontario. She collaborates with her partner George Miller in their home of Berlin.




Paradise Institute 



"With this work, originally produced for the Canadian Pavilion at the Venice Biennale, Cardiff and Miller focus on the language and experience of cinema. Viewers approach a simple plywood pavilion, mount a set of stairs, and enter a lush, dimly lit interior complete with red carpet and two rows of velvet-covered seats. Once seated, they peer over the balcony onto a miniature replica of a grand old movie theatre created with hyper-perspective. This is the first in a series of illusions orchestrated by Cardiff and Miller. Viewers then put on the headphones provided and the projection begins."


killing machine


"Partly inspired by Franz Kafka's 'In the Penal Colony' and partly by the American system of capital punishment

as well as the current political situation, the piece is an ironic approach to killing and torture machines.

A moving megaphone speaker encircles an electric dental chair.

The chair is covered in pink fun fur with leather straps and spikes.

In the installation are two robotic arms that hover and move- sometimes like a ballet, and sometimes attacking the invisibleprisoner in the chair with pneumonic pistons.

A disco ball turns above the mechanism reflecting an array of coloured lights while a guitar hit by a robotic wand wails and a wall of old TV’s turns on and off creating an eerie glow.   

In our culture right now there is a strange deliberate and indifferent approach to killing. I think that our interest in creating this piece comes from a response to that."

Maria watts

Sonali Sridhar

Multimedia artist, moved to the United States from Bangalore, India in 1998 to attend college at the Atlanta College of the Arts in Atlanta, Georgia.  Sridhar focused mainly on graphic design while in Atlanta and went on to recieve her master’s degree from the Interactive Telecommunications Program (ITP) at Tisch School of the Arts, NYU.  While at NYU she was introduced to electronics and began working with wearable technology.  Sridhar lives and works in NYC.




‘Remember’ uses the platform of clothing to explore the memory, patterns and relationships I have with my objects and their impact on my day to day living. My wallet, keys, phone, i-pod, camera, laptop, ID, money etc. form a strong ring of technology, identity and security around my body. ‘Remember’ is a commentary on dependencies we have developed on these little devices that hover around us.


Expanding on the definition of clothing as a necessary protective covering, exists as a way for people to reflect parts of their personality in their outward appearance, and to distinguish themselves as individuals.

Designer :: Sonali Sridhar

Collaborators :: Pollie Barden & Angela Pablo

Date :: 2006



Wireless Wearable Technology

This is a commentary on brand. These two skirts are wired with tricolor LED’s and a wireless radio frequency sensor. When the two people wearing the skirts come in range of each other, they exchange color information and share each others colors. Finally they dim to a white light as it is the absolute mix of all color light.

This piece was featured in the ITP Winter show 2004 and was then subsequently featured in Spring at the Chelsea Art Museum in a Studio IMC production of Art and Technology.

Designers :: Sonali Sridhar & Michal Bril

Date :: 2004


Alfred Ham

<Flippycat>This person is a domino artist. There isn't a lot of given information about this artist instead he/she uses the ID name "Flippycat". A real cat what believe to be the artist's pet comes out in most of the domino artwork of this artist.

I really like playing with dominos and I always love seeing them. Flippycat not only builds dominos, he/she makes artwork out of them!

One thing I see so amazing from this person's works is that he/she replays things and plays them backwards so people can see how the things were built.

My personal favorite work from this artist is "Domona Lisa" 













Rachel Welles


http://www.tosa.media.kyoto-u.ac.jp/  - Artist Naoko Tosa

Graduated with PhD in Art & techonoligcal Research from University of Tokyo. Her main interest is in cultural computing, and how computer interfaces respond/understand human culture. She combines disciplines of psychology and science for experiemental works in film, video, computer graphics & animation.

She is now a professor at Kyoto University (circa 2005) in the Academic Center for Computing & Media Studies.


Interactive Theater (1998-1999) - storylines are changed according to emotions of the audience

"Romeo & Juliet in Hades"


"ZENetic Computer" (2004) - influenced by Japanese Zen philosophy, a projected computer interface allows users could enter the world of a Japanese Sansui ink painting.


"Unconcious Flow" (1999) - A lie detector which uses heart-rate and generates images from interpreted responses of two people to correspond with perceived feelings. Inspired by constructions of social masks and how it influences acts of duplicity between people.


Her work has been exhibited at NY MOMA, NY Metropolitan Museum of Art, ACM SIGGRAPH and ARS Electronica.


Fred Kolouch



This is the vegetable orchestra:

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This first part of the video has a montage of the musicians creating their instruments starting at the market and ending in their workshop building the instruments. They create instruments such as the leek violin, eggplant clappers, carrot recorder, and the cucumber saxophone. They have been composing music since the late 90s. Their style can range from completely experimental to more traditional compositions. In any musical piece they do, there is a very interesting, unique sound quality that comes from it. There are lots of bubbly noises, high squeals and quacks which make the music almost seem extraterrestrial. Personally, I find the music bizarrely meditative and calming. People who see their performance live describe it as a full sensory experience involving taste, smell, visual, and audial. At the end of the performance the audience members receive bowls of soup made from the instruments.


Here's the orchestra's website:







" half of the members are based in visual arts as painters, designers or installation artists, the others are more concerned with musical questions"


Henry Laufer

This is Daedelus. A Los Angeles based experimental electronic musician who creates and performs his music using a Monome.


More on the Monome device: http://monome.org/


This electronic device is an open source interface that can be purchased as a whole unit, or as just the logic board, allowing users to design their own casing and button setup as well as their own programs to run on the device.


this is a San Francisco based artist, Edison, using his personalized monome devices.


A good friend of mine, Dr. Strangeloop, performing a live video and audio set.

Another bay area producer, Moldover, released his new album recently. This innovative release not only comes with a cd, but a mini circuit board instrument as well. Watch him use his creation with its two light censors that effect the tone produced by the board.


Ryan Rosenblatt

Pagusus Pen


Incredible New electronic pen from pegusus allows people to write on ordinary paper and have it be ttransmitted to computer text recognition software, and edited in a program like microsoft word.  This pen can also transmit drawings and can be used in programs like adobe photoshop.  It also has the potentiality to be used likea mouse.  I chose this article because it seems like a cutting edge technology.  In ten years mice may be an engangered species and may be replaced by pens.    
The website for Pegasus: http://www.pegatech.com/
  • Mac Users can now take handwritten notes on any paper using Pegasus digital Pen that have the look & feel of any other regular pen during meetings, classrooms or at home away from their Mac.

  • 50+ handwritten pages (A4) can be stored in the Digital Pen flash memory and then uploaded to Mac using USB cable connection.

  • Rechargeable battery enables 10 hours continues writing.

  • While connected to the Mac, users can use the Digital pen as mouse.

  • Mouse functionalities enable to write notes into Mac iWork’08 applications and convert them to text, using built in conversion to text feature.

  • The Digital Pen can be used for drawings inside applications such as Adobe® Illustrator®, Photoshop® Etc."-from pegasus.com  




The electronic pen developed by Pegasus makes it possible to write directly into a computer, wireless telephone, personal digital assistant (PDA), or mobile computer, and transmit the written material by e-mail or fax. Everybody from doctors, students, and law enforcement officials to insurance agents, messengers, journalists, and businesspeople frequently find themselves a slave to their computer keyboard - even in situations that are not very convenient.

But now, an Israeli-developed electronic pen will enable them to write on ordinary paper, and immediately transmit what they write to databases. The electronic pen developed by Pegasus makes it possible to write directly into a computer, wireless telephone, personal digital assistant (PDA), or mobile computer, and transmit the written material by e-mail or fax. 

"The first system we developed was a mouse for three-dimensional games," Pegasus cofounder and CEO Gideon Shenholz told Globes, describing the origins in 1991 of the company which then dealt in tracking and positioning systems at ranges of about one yard.

"We decided to switch to an electronic pen at a later stage. The transition required further development, because the technology needed for the electronic pen is more complex than the technology for a 3D mouse. A mouse doesn't require maximal accuracy of movement. In handwriting, missing even the slightest movement will ruin what is being writing, and the signal processing must therefore be at a far higher level," he added.

The electronic pen looks like an ordinary pen, with an ordinary refill and base unit that writes on paper. Electronic components are installed in the pen, including a small ultrasonic transmitter. The base unit's electronic components include two ultrasonic receivers with very strong processing capacity. 

"When the pen starts writing, the base unit follows its movement, and receives what it is writing through ultrasonic signals. Once the signals are received, the processor turns them into information about the precise location of the pen point on the paper. The processing unit continuously processes the data in order to obtain a continuous image of what is being written," said Shenholz.

Pegasus now has two generations of electronic pens. A company named PCNoteTaker developed the first, and the second is called Mobile NoteTaker. The second was developed in cooperation with a Japanese company named Pentel, which makes writing devices, and invested in Pegasus a year ago. The difference between the two generations of pen is that the later generation provides the user with mobility, while the first generation requires the user to stay close to a computer. 

"In the first-generation pen," Shenholz said, "the information is transmitted from the base unit to the computer while the user is writing, sketching, drawing, etc. The connection between the base unit and the computer is permanent, and users can see on the screen what they're drawing, while they're drawing it. 

"The second-generation pen, the Mobile NoteTaker, includes a memory, which makes users mobile. They don't have to write next to a computer. They put the base unit next to the paper, and the material is stored in the base unit memory while writing is taking place. At a later stage, the stored material can be transferred to the computer (or to a wireless device, or to a PDA). The base unit has a two-megabyte member (about 50 A4-size pages). A larger member can also be developed at the customer's demand."

According to Shenholz, the system includes algorithms and application specific integrated circuit (ASIC) components, which facilitate low-cost processing.

"The idea is to create a system that is simple and inexpensive to operate, so that the pen can be sold at a low cost the price is $80 in the US and $100 in Europe. I expect the price to go down with time. Our goal is to reduce costs enough to allow us to sell the pen for less than $50," he said. 

According to marketing manager Assaf Yaari, the PC Notetaker will be available to American consumers in October.

"You'll be able to walk into Radio Shack or your favorite computer accessory store and buy it on the shelf," he told ISRAEL21c.

Shenholz said that with both generation of pens, the written material is transferred to computer through a wire, but with the third generation, the written material will be transferred through wireless communications either Bluetooth or radio frequency (RF).

An ultrasonic transmitter is installed in the tip of the pen, and two receivers are installed in the base unit. Since the signals are ultrasonic, and voice waves travel at about 300 meters per second, the system can receive the waves and calculate their propagation. Since each receiver is aware of its distance from the transmitter on the tip of the pen, and the distance between the receivers is fixed, triangulation can be performed, like sketching two arcs and finding their intersection point. 

"Furthermore, the base station has a switch that identified the touch of paper. Only after the ink begins to flow does the base unit begin receiving the signal and processing the ultrasonic signals. The switch is programmed to identify the touch of pen and paper, while ignoring (not transmitting) when the hand is in the air," explained Shenholz.

"The Mobile NoteTaker's target markets are users who need to collect data from the field while being mobile, and transfer them quickly to information systems and databases. Students who need to sketch during a lecture can use a second-generation pen to transfer the material to a computer later. Doctors writing information during a visit, or following a test, can use it to transfer the information to the hospital database. Policemen who need to sketch a crime scene can transfer the sketch to databases, and many other users having to collect information from the field, and transfer the information to databases or their main office while it is being collected can use the pen. 

"This is a very large user population, which includes surveyors, agents of express mail services, messengers, people who must obtain customer's signatures on receipts of products, etc. I emphasis that for now, the pen is designed for enterprises," said Shemholz.

At this stage, the electronic pen is designed for business enterprises and users, but its use will be extended in the next stage to a wide variety of household and individual applications. One application expected to gain widespread popularity is writing short messaging service (SMS) messages directly into a wireless device.

Original equipment manufacturer (OEM) manufacturers expected to join this revolution include wireless device manufacturers, which must now supply small, lightweight telephones with large screens. Transferring a large proportion of keyboard applications to the electronic pen will make it possible to restrict the telephone keyboard to dialing numbers. 

Pegasus is not alone in this technology with the other main players being a company named Anoto and two South Korean companies, FingerSystem and NAVIsis. But Pegasus currently provides the most affordable solution, and has sold more than 300,000 units, compared with at most a few tens of thousands of units for the other companies.

According to Shemholz, Pegasus is currently offering the technology to wireless and PDA equipment manufacturers, wireless operators, hospital equipment manufacturers, and so forth to enterprises that can sell the system as a value added service to their customers. The base unit can hook up to a wireless device as an accessory, but can also be installed within the device, so that the wireless phone itself functions as the base unit. 

"The technology has been greatly miniaturized, and can be installed in wireless phones without any problems of volume, weight, power consumption, etc. Furthermore, the base unit can be installed in certain models of wireless phones without significantly adding to their cost. Users working in the field can transmit the written material to their wireless phones or PDAs, and from there via e-mail or fax to the main office," he said.

Shemholz said that one drawback to the system which will soon be rectified is editing capabilities.

"At this stage, everything written by the electronic pen, including the written material, diagrams, sketches, etc. is received as an image, not as typed material that can be edited. The system makes it possible to receive the material as data (a signature on a document, data written by agents in the field, diagrams, etc.). We believe that by the end of the year, we'll have a system capable of identifying the written material as typed in a way that will accommodate editing, although initially this will be only in English. 

"In order to develop this capability, we're cooperating with companies that have developed handwriting identification software. Combining handwriting identification with our system will make it possible to obtain material from the pen as a typed word document. The possibility of turning material from the electronic pen into a typed document will open many new target markets to the system." 

(Based on a report in Globes)


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