Shana Moulton @ Cinefamily in Los Angeles
The Knife + Danish Theater group HOTEL PROFORMA. Awesome visuals and music.
Fuel for the Fire
“It’s kind of crucial for the NEA and arts organizations and artists to start a conversation, which is probably overdue: Qualitatively, what are the differences between live attendance and [experiencing the arts] through media? What are the fundamentals of having audiences connect with the artist, being in their presence?”
The Arts see encouraging news in NEA survey, LA TIMES
December 19, 2009. By Mike Boehm
Ghostwire for the Nintendo Dsi:
Your portable device is used as a portal to the astral plane, and helps you find and collect ghosts that exist all around you. In your quest you use real tools, such as the built-in camera and microphone, as well as abstract ones like an “EMF tuner” for tracking down the ghosts.
Tangentially related, amusing LA Times article by Berkeley Breathed about exhaustive CGI and blockbuster audience numbness. The headline reads:
BLOWN OUT The Earth is in Peril. Humankind may not survive. And moviegoers…yawn. Hollywood is plastered in pixels. Awe is lost in the flood.
Douglas Davis The Last Nine Minutes was presented for German TV’s first live satellite transmission marking the opening of the Documenta VI in Kassel on 24 June 1977 for both a live and satellite audience.
This interview with him is well worth checking out, here are some quotes that I quiite liked:
The virtual is real, the real is virtual. Blending them is our destiny.
Art and life will never marry, but they certainly do have a delicious time in bed.
My instinct is that “the museum of the third kind” (title of an essay I am working on, soon to be finished, based on the Victoria and Albert lecture in 1997) is not going to be created by a set of museum trustees plus staff…But by a lone, mad individual or two, followed by the rest of us.
Wynne Greenwood formerly of Tracy and the Plastics (1990-2006)
From a 2001 essay:
For the past two years I’ve been working on Tracy + the Plastics, a band I started with myself - and myself - and myself. I play the parts of Nikki (keyboards), Cola (drumbeats) and Tracy (singer). Live, Nikki and Cola are included as images in a projected landscape that backs me up and fills me in. Prerecorded music plays through speakers. I sing live and talk to my “band” in between songs. Nikki asks Cola why she puts socks down her pants, to look like a dick or a third dimension? Cola turns to me, Tracy, and asks my advice. “I don’t put socks down my pants,” I say. Cola says she does it to look more real. There’s a history, a reality created by the interaction between the self and the image of the self.
An interview with Tracy goes like this: Q “What does it mean to be Tracy?” A “Tracy means front in some language. When people call TRACY! it’s a call to the front.” In a continuum, the margin exists to the side of the center. If we add dimensions, then the margin becomes back and the center becomes front. A Tracy + the Plastics performance attempts to destroy the inherent hierarchical dynamic of those “spaces” by placing as much importance on the video images (the Plastics) as the live performer (Tracy). The front interacts with the back in a way that emphasizes their equality and the dependence on one another to dismantle their roles and prescribed boundaries.
Artist Matt Barton’s Extreme Animals: The Video Game.