Part 1: Identifying ‘ART’ in the Virtual

October 3, 2009 · Leave a Comment

Without Objects or a Room of One’s Own:  Identifying the ‘Self’

With every step closer to uniting all people to each other, technological advancement threatens virtual fragmentation. While technological advances bring us closer to uniting all people to each other, it does so with the lack of physicality. In place of cohesion, there is more separation, which effects how we compose and define the ’self.’

This process of connectivity mediated by technology echoes Virginia Woolf’s theory on the mind’s process of identifying the ‘self’, “The mind seems to have no single state of being,” she writes. The essence of the self is intangible, ever changing and “lives in dangers of coming apart.”
In contemporary culture how do we bind, find intimacy and create a room of our own for a moment amid the fragments, sound bites and noise?

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Laurie Anderson: Transmodal Work

July 14, 2009 · Leave a Comment

In O Superman, Laurie Anderson synthesized the spoken word, electronic sounds and projection of live action gestures with a montage of projected images, each unfolding to reveal a distinct “moments of being.”  The overall effect of her piece redefined music and performance through integration, combining the two into a greater collective experience. O Superman stands in direct opposition to the Hardyian philosophy of “pure literature,” which denies the phenomenon of imagery in literature.

The eight-minute musical score Anderson created for O Superman was a cover of the aria “O Souverain, o juge, o père” (O Sovereign, O Judge, O Father) from Jules Massenet’s 1885 opera Le Cid.  Her version, however, contradicted the language of musical composition because it did not include musical notations such as drum or bass; instead, it created music through the electronic manipulation of spoken words.

O Superman investigated the use of language and communication, questioning the traditional modes of how language is transmitted. Anderson created an experience that united the “literal world of phrasal reading and the interpretive world of the imaginable.”   In this coexistence, the whole became greater than the sum of its parts.

This elevation of the spoken word is first manifested with the repeated spoken syllable, “Ha.”  The continuous reiteration of “Ha” eventually becomes an indiscernible sound. Through this multiplicity of the word, the word becomes the hypnotic backdrop of the composition.  As the song progresses, the remaining part of the composition is overlaid with spoken word manipulated by a vocoder.  The way language is treated through timing and electronic devices function in the same way as pattern poetry, where the arrangement of the words becomes an image that relates to what the poem conveys.  Unlike pattern poetry, however, the use of word and imagery in O Superman enhances the understanding of the sound of the spoken word, by existing simultaneously in the same space rather than in isolated planes.

O Superman is based on sound loops, fading of sound and images and the integration of the physical body into the act of transmission through its projection.  These multidimensional plays on words create an effect through which the words “literal meaning” loses their initial value and where time exists on many levels throughout the performance.  The spoken word lives as the lyrics (the political context of the work) as well as the image becoming the rhythm or sound of the piece. As a result of the dual existence of all the mediums used in creating the overall effect of the piece it transcending the ‘pure’ lyrical found in musical discourse

An important element of O Superman is its use of projected images to extend the multidimensional language of the piece into the visual.  A slide projector is used to project a circle on a screen behind Laurie Anderson’s performance. The emanating circle of light becomes a device of intersection between her and the back wall behind her.  By placing her hand in between the projector and the screen behind her she transforms her body gestures into silhouettes of signs projected on the screen. This formed a dialogue between the two dimensionality of the screen image and the three dimensionality of Anderson’s physique.  Her body not only becomes a vehicle for the performance of the piece, but also enjoys its own existence as a graphic symbol upon the screen.  Through this dual existence, an individual performer of musical performance evolves into a collective understanding of symbols.

The graphic symbol of the body made by the projector, rebels the categorical specifications inscribed in the transmission of language. Instead, Laurie Anderson reaches a more unitary conclusion; “the body is the image and the body is the word.” As she stated, the interaction between the two generates a space of transformation and transmission, “making something imaginary happen in the air.”

Ricardo Francisco, “Reading the Discursive Spaces of Text Rain, Transmodally.”
Ricardo Francisco, “Reading the Discursive Spaces of Text Rain, Transmodally.”
Laurie Anderson Official Website, March 2009 <http://www.laurieanderson.com/>.

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Cyberculture History: Discourse on Technological Utopianism

July 3, 2009 · Leave a Comment

A small anarchic community of wireheads and hackers made the mistake of giving fire to the masses. Nobody is going to give it back…. This wonderful community is not a community anymore. It’s a society. – John Markoff

In 1993 the New York Time’s John Markoff confirmed that the global network was “the world’s most fashionable rendezvous” an “on-line gathering spot for millions of users.”

In its infancy it was called the World Wide Web, a sterile space utilized mainly by corporations. The advancements of social networks and technology, however, transformed it into what is commonly known as the Internet today.

Now more than every before, people are spending increasing amounts of time living in cyberspace, forming pockets of small closed groups that are separate from the greater gathering ground.  As a result communities have emerged forming a virtual mini society within our world.

The roots of these virtual cultures and norms can be traced to the technological hype of the 1990’s, which grew out of the countercultural ideologies of the 60’s and 70’s. Timothy Leary proclaimed the PC as “the LSD of the 1990s.”

Like the temporary communities of shared consciousness of the 1960’s, the virtual field provided a venue to cull crowds and create a self –regulated society that would destabilize or move away from the mainstream.  Their goal: building egalitarian societies.

In 1995, Stewart Bard’s in Times magazine emphasized the influence of the 60’s counterculture on the new revolutionaries in cyberspace.  In Bard’s article, “We owe it all to the Hippies”, he wrote the counterculture’s scorn for centralized authority provided the philosophical foundations of not only the leaderless Internet but also the entire personal- computer revolution.

The Internet became an open landscape free from physical constraints and geographical limitations, allowing large numbers of people to congregate. This virtual space became a place of empowerment because it connected people with interests and ideologies that encouraged each other perhaps even, inspiring them to take collection action to provoke global change.

In Crowds and Power, Elias Canetti describes the effects of critical mass of people in a space:
ideally, all are equal there: no distinctions count, not even that of sex. That man pressed against him is the same as himself. He feels him as he feels himself. Suddenly, it is as though everything were happening in one and the same body.

Many members of the cyber societies consider hackers the heroes of the computer revolution.  They pioneered the idea of turning the computer into a tool to use to make a difference for humanity—instead of instrument that only a few select groups can wield to achieve their own goals.

Steve Wozniak was a prime figure in developing “unlimited and total access to computers”. Before co-founding Apple computers, he and John Draper started to experiment with the telephone.

He and Draper bypassed the mainstream telephone services by hacking phones with a pocket box attachment that provided free service.  As the device grew in popularity, an underground social network called “phone phreaks” developed around its use.

Wozniak and Draper hosted social conferences similar to modern chat rooms, where people with similar interests connected anonymously on the network free of charge.  As a sign of their dedication to anonymity, they distributed masks at these events, with slogan such as “wear a mask, nobody ever caught the Lone Ranger”, on poster.   The “phone phreaks” are like the Lone Ranger, riding on the speedy Silver lightning of the phone lines. These rangers roamed the channels that were supposed to be closed and, by opening them, they righted injustices evil “System” had created.

The “phone phreaks” acted first to de-stabilize the system by exerting control over the telephone company, which formally had a monopoly on control but others soon followed.  Brain Harvey, a former Atari hacker declares that hacking started out as not something technical but a sort of approach to prioritizing life.

The initial agenda of the hacker who is committed to personal liberation changed in sync with new developments in computing.  Their “hippie” or rebel image slowly disseminated as their skills and programs became popular and spread into the mainstream.

Their long hair and late-night prowlings were no longer depicted as evidence of deviance, but marks of genius. In popular accounts at least, hackers had become entrepreneurial hippies who wielded computers like LSD and they were transforming America into a turned-on, high-tech New Economy.

With a similar intention of subversive play, sense of exploration, and general fascination as the phone hackers, Steve Russell ‘s invented Spacewars.
The development of the game started when DEC’s new computer, the PDP-1, was set to MIT to be used in hopes of “revolutionizing information processing for the greater glory of corporate America.”

Instead what developed was the first videogame that spread like a virus across campuses and research labs. Since it was an open program, it created a communal program writing experience with newer more improved versions of Spacewars emerging at different locations.
Steve Levy commented on Steve Russell’s developments at the 1984 Hackers Conference:
“When Steve Russell wrote Spacewar as a hack and some people in the room helped improve it, the improvements came because it was an open program….In some more “serious” things like assemblers and compilers and all sorts of utility programs, the same system benefited everyone there. I think things happened that wouldn’t have happened if programs were sequestered away and kept proprietary.”

Although the MIT “hackers” could care less about revolutionizing information processing and sharing it with corporate American or the masses, figures such Steve Russell’s and David Rodman at MIT, initiated the spread of interest in computing outside the “hacker” culture.

For some, Spacewar was their very first glimpse of a computer. “What happened,” says Russell, “was that most of the people who had access to the PDP-1 would show their family and friends what they were doing and they would demonstrate with Spacewar, because it was more interesting than watching someone debug a program with DDT. Actually. I think the thing I take the most pride in about Spacewar is that it got so many people hooked on computer programming.”

They originated a computer-oriented society.  What first started as a self-regulated, insular community became a society that later was introduced to the rest of the population.  Fostering the life of what we know as the Internet today.

Most of the software we use today is based on hacker developments that they distributed freely.  This created a society with an ability to network human beings, further promoting open communication and collaboration. As the virtual world grew, power was subverted from the tradition media of TV to the “people’s” Internet.

This utopian vision of the virtual community and the initial functionality that it promoted became a new venue for capitalist control and interest.  The high-speed rate of distribution of information was an allure for marketers. As Douglas Rushkoff, states, The object of the game, for Internet business, was to get people’s hands off the keyboard and onto the mouse. Less collaboration, more consumption.   The initial role of free information exchange moved greatly away from the cyberculture “revolutionaries”.

Clive Thompson’s article, If you Liked This, You’re Sure to Love That, in New York Time’s magazine reveals how corporations use the open source hacker ideology for profitable interest.  Netflix is looking to improve its recommendation engine predictions, Cinemacth, by 10 percent.  In following in the Internet’s power of collaboration and culling people together they held an open call competition, the prize $1 million dollars.  According to the Thompson, “30,000 hackers worldwide are hard at work on the problem”, in hope of winning the prize and better a recommendation program that will spur more consumerism.

Douglas Rushkoff declares that in 2000 “browsers and search engines were designed to keep users either buying products or consuming commercial content. Most of those helpful hackers were now vested employees of dot-com companies.”

The cyber subcultures did succeed in changing the world although they did not achieve the utopian ideals that they dreamed of.  It did not “flatten organizations and decentralize control”; it grew into a society of its own, which often tries to mirror the real world.  Once the power of virtual community was given to the masses, it became an avenue to control for market interest.

Although the infrastructure of the Internet does different greatly, as Rushkoff emphasizes, the cause of the decline of e-commerce and the crash of the dot-coms,

The Internet was not born to support the kind of global economic boom that venture capitalists envisioned. The inevitable collapse of the dot-com pyramid was not part of some regular business cycle. And it most certainly was not the collapse of anything having to do with the Internet. No, what we witnessed was the Internet fending off an attack. The Internet never does what it’s supposed to do. It has a mind, and life, of its own. That’s because we’re alive, too.

As in any Wild West or wilderness that needs to be colonized it takes time. As more businesses increase their knowledge of computing and use tactics to humanize consumption, working side by side with programmers and hackers, the market of larger corporation, such as Netflix will continue to improve. Ultimately coexisting along the side of self- structured virtual communities that still thrive on the original structure of the Internet.

One of the newest forms of self –structured social organization are smart mobs.  Howard Rheingold first introduced the smart mobs ideas in his book, Smart Mobs: The Next Social Revolution.  Smart mobs follow the “emergent behavior” system, which develops out of patterns that arise out of collection of relatively simple interactions. The original smart mobs were teenage “thumb tribes” in Tokyo and Helsinki who punched out short, cheap text messages on primitive cell phones to organize impromptu raves. Smart mobs have developed into collective social political action through the use of computer networks and mobile media.  This amplified version of human collaboration through the advent of new technologies can be both advantageous and damaging depending on the mob’s goal but it effect is amazing.  According to the New York Times, smart mobs help topple President Joseph Estrada. “Barely an hour after fresh news of corruption arose, a text message forwarded from citizen to citizen,’ Go 2EDSA, Wear blck”, summoned thousands of black-clad protesters to a public plaza.”

Social organizations such as the smart mob are sprouting up across the Internet in higher frequency.  They are the idealistic social change that does not comply with the hierarchy of the structure that the corporations instilled on the Internet.

The original belief by hackers that they were able to circumvent capitalism and not participate in it was the same false ideology that hippies also ran into. The commune cultures of the hippy lifestyle saw a dramatic rise in numbers between the years 1967 and 1970.  In 1967 there were about 7,000 communed and by 1970, 750,000 people lived in more then 10,000 communes.  Their ultimate goal was to drop the chains of oppression forced upon them by the “system”.  Hippies viewed the government as system of ladders that structure the population to the bottom rung and ultimately into oppression.  Hierarchies that they wanted to move away from much like the hackers who wanted to exert freedom and control over the system. In both cases they all dealt with social action through non-participation and subversion. Hippies believed they could exert control over the applied capitalist structure by not participating in commerce, refusing to pay taxes, and disregarding the draft.

No matter how far into the wild hippies tried to escape by joining communes, they would not be able to retreat from the constraints of a hierarchical structure, and ultimately worked against themselves.  Obstacles like the need to purchase hallucinogenic narcotics would have them continue to participate in capitalism.  More notably routine campfire life became gender-orientated role-playing. As Fred Turner explains commune life the men went off and talked about important things, while women tended to the children, and food. The kind of hierarchy that they were struggling to get out of was also beset upon themselves in the commune structure.

In the same way the hippies started with good intentions of social action, hackers started with good intentions to exert control through social action over the structure and break down the hierarchy.

The true mode of progression is not non-participation approach of the hippies, nor is it the subversive behavior in exclusive cyber culture communities; the answer lies in turning the ladder of hierarchy on it’s side and view its rungs as interconnecting cultural vines that have no end but with its greatest being significant social actions.  As Robert Irwin states,  “What I would like to do now is take our familiar structural hierarchy, remove it’s transcendental concepts (with the intent of replacing them with a single infinite subject) and to do in effect turn it on its side and begin to think of all our art world actions as part of our everyday process of social innovation… What were earlier hierarchically characterized as rungs on a ladder, in an upward progression should now be thought of as an interlocking – equal value – art actions that go to make the discipline of art into meaningful social action.”

The nature of the Internet is a dialectical process. What came out of the progress of the Internet is a society like any other society, where capitalist’s ventures, grassroots ideals and rebels good and bad coexist.  Two conflicting forces contradicting each other, viewing each point argued as the validation is the determining factor in their continuing interaction.   The Internet is not a utopian landscape it was intended to be for cybercultures, it is filled with zealot groups in opposition, a process ever expanding, and coexisting in their roles.

John Markoff, “THING; The Internet,” The New York Times 5 September 1993.
Mark Dery, Escape Velocity: Cyberculture at the End of the Century (Grove Press, 1997).
Stewart Brand, “We Owe It All To The Hippies,” Time Magazine 01 March 1995.
Elias Canetti, Crowds and Power (Farrar, Straus & Giroux, 1984).
Stewart Brand and Matt Herron, “1984 Ad,” Whole Earth Review May 1985.
Secret History of Hacking, Discovery Channel Documentary, n.d.
Fred Turner, From Counterculture to Cyberculture: Stewart Brand the Whole Earth Network and the Rise of Digital Utopianism (Chicago: University of Chicago Press, 2006).
Stewart Brand and Matt Herron, “1984 Ad,” Whole Earth Review May 1985.
Fred Turner, From Counterculture to Cyberculture: Stewart Brand the Whole Earth Network and the Rise of Digital Utopianism (Chicago: University of Chicago Press, 2006).
Douglas Rushkoff, Douglas Rushkoff >> The People’s Net, July 2001, November 2008 <http://rushkoff.com/articles/features/the-peoples-net/>.
Clive Thompson, “If You Liked This, You’re Sure to Love That,” The New York Times Magazine 23 Nov 2008.
Douglas Rushkoff, Douglas Rushkoff >> The People’s Net, July 2001, November 2008 <http://rushkoff.com/articles/features/the-peoples-net/>.
Fred Turner, From Counterculture to Cyberculture: Stewart Brand the Whole Earth Network and the Rise of Digital Utopianism (Chicago: University of Chicago Press, 2006).

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RISD Winter Session Course

June 19, 2009 · Leave a Comment

This is the beginning sketch of the course.  More to be added………….

The Ghost in the Machine:
Analogue to Digital Technology

Instructors: Laura Alesci & Mary Burge
MFA Digital + Media 10
Contact Information:

lalesci@g.risd.edu
mburge@g.risd.edu

Overview:

The past is hidden somewhere outside the realm, beyond the reach of intellect, in some material object (in the sensation which that material object will give us) of which we have no inkling. And it depends on chance whether or not we come upon this object before we ourselves must die.   – Proust “Remembrance of Things Past”

In multimedia art, nostalgia for analogue has grown at the same intense pace as the development of newer and more dynamic technologies. Artists have begun retooling older, analogue-based devices with nascent technology in an attempt to project into the future.  By experimenting with the exchange between digital and analogue, students can create works capturing that dialogue. Students in this course will examine the history of obsolete techniques and machinery—magic lantern(s), cabinet(s) of curiosities, tape cassettes, early film, and stereoscope(s)—and, simultaneously, link them to the latest digital media. This course treats all these apparatuses, both antiquated and contemporary, as holders of time. Students will develop basic skills in computer programming and physical computing to evoke nostalgia for analogue objects and establish a new language through their reinvention.

Scheme/Assignments:

Course readings accompany each class workshop.  Students are required to participate in class discussions and a collaborative project in addition to a final individual project that incorporates the course’s concepts and techniques.  Students are responsible to keep a process log to go along with their final presentation of their individual project.

Breakdown:

20 % Participation
20 % Attendance
30 % Individual Project
20 % Process Log
10 % Collaboration Project

Locating:

Reading Sketch:

J.S Le Fanu, Haunted Lives, 1868
Marcel Proust, Remembrance of Things Past, 1913 – 1927
Gaston Bachelard, The Poetics of Space, 1958
J.K. Huysmans, Against Nature, 1884
Gilbert Ryle, The Concept of Mind: Descartes’ Myth, 1949
Arthur Schopenhauer, The World as Will and Representation, 1818
Lyons, James, Multimedia Histories: From the Magic Lantern to the Internet, 2006
Moreno Gean, Ghost in the Machine: Adam Putnam’s Body Dispersal, 2005
Slavoj Zizek, The Parallax View, 2006

Film Screening Overview:

Kenneth Anger
David Lynch
Stan Brakhage

Artist Viewing:

Adam Putnam
Francesca Woodman
Zoe Beloff
Paul DeMarinis
Jeff Shore and Jon Fisher
Jane and Louise Wilson

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Miranda July & Harrell Fletcher: Learning to Love you More

June 19, 2009 · Leave a Comment

Distances are great
Contact becomes more and more intimate.
– Bert Kommerij from Flick Radio

Learningtoloveyoumore.com invites anyone who visits the website to complete assignments created by the artist Miranda July and Harrell Fletcher. Started in 2002, learningtoloveyoumore.com began as a web-based project. Later, it evolved into a series of exhibitions and a book documenting the participants’ responses.

The site is a collaborative project based on responses from ordinary individuals to each assignment. The assignments’ themes range from the emotional therapy (#63- make an encouraging banner) to the meaningless (#41 document your bald spot).  But all of the attempts to draw pubic participants have one thing in common: they suggest that the artist is commenting on the web’s epistemology.

Learningtoloveyoumore.com embodies the spirit of  “informal media “  that has exploded in the past two decades. The popularity of blogs pushed this type of media forward and expanded its prevalence in society.  Blogs allow people to self-publish, giving anyone the right to make their personal reflections available to the public.

As Nick Gall describes blogging is the “voice of a person….it’s a new form of conversation and a new form of community.” 2 As a result more self-confessional and ordinary daily events are being mused over.

Similar to blog postings, the responses to each assignment reveal an extraordinary archive of the ordinary and often time’s mundane experiences of life into a collective collage. In assignments #63 charges people to create encouraging banners with a phrase that they might repeat to themselves when they need self-affirmation. As part of the exercise, the artist instructs people to display the banner, take a picture of it and send it to the artist who later posts the picture on the sight.

Banners with statements like “everything is not broken” and “everybody loves you” are archived on the site. These mimic the personal comments people write in blog entries.3

The site also invokes t the web’s ability to democratize information and challenge formal hierarchies.  Exchanging information without the need for an institutional “seal of approval” from the mainstream media has empowered social networks where amateurs and experts coexist, interact and inspire each other.  (July)

Assignment # 8 imitates the institutionalized practice of exhibitions by asking the participants to curate an artists’ retrospective in a public place. The assignment entails Xeroxing images created by an artist of your choice and displaying the collection in a public space.  The photocopies, which should be black and white, must come from books and magazines that show the artist’s work. The self-made exhibit also must include a curatorial statement based on personal opinion. By giving people an opportunity to display homemade retrospectives on fences and bulletin boards Miranda July and Harrell Fletcher want to make art accessible to everyone, instead of only in the institutionalized spaces of galleries and museums.

The curatorial task in assignment # 8 emulates how information is gathered and accessed on the web. It comments on what the web knows, how it knows it and the authenticity of sources.  A search engine does not answer a query logically. Search engines cull data through a system that ranks sites by counting how many links it has to similar words in the query.  4

Search engines find and disseminate information based on the newness or freshness of the data. Links and page views allow search engines to gauge how to rank results. Original authorship and authenticity do not factor into this vetting process.  Instead, a search engine places the most copied, manipulated and reprocessed information at the top of its search result list.

The actual source of the information is often buried or untraceable unless the majority of web users decide to refer and link back to it regularly.
In the same way, Assignment #8 asks participants to make photocopies of pictures, which themselves are copies of original artworks.  With each photocopy, the artwork migrates further away from its original source—just like information on the Internet. The photocopied reproductions allow the artwork to reach a wider and more diverse audience but sacrifice uniqueness in the process.

The assignment critiques a system that relies on circulation of images and redistribution of the images from their original source.

Miranda July and Harrell Fetcher employ the language that characterizes the web’s “informal media.”  This type of web culture is used to rally participation and create a space that takes the private into the public.

Learningtoloveyoumore.com creates a unifying experience through playing on the nature of web culture.  It takes participants outside of the insular involvement of using a computer through assignment-based activities involving the real everyday world.

The seemingly DIY nature often times emphasize the individual hand and object oriented assignments. This also forms distances from Internet space into the real.

Similar to the project based Situationalist of creating situation to restore authenticity in life, the purpose of the assignments in learningtoloveyoumore.com forms a community that uses a new forum (the web) of unification to experience everyday life free from alienation.

In their manifesto the Situationalists describe, “our society of spectacle is a nightmare with alienation, consumerism as opium, lack of authenticity. So what really is the situation? It’s the realization of a better game, which more exactly is provoked by the human presence.” 5

LearningtoLoveyoumore.com resembles a game in which there are players and assignment makers. LearningtoLoveyoumore.com is both a movement and a development in modernity, captured by Miranda July and Harrell Fletcher when they state:

“The best art and writing is almost like an assignment; it is so vibrant that you feel compelled to make something in response. Suddenly it is clear what you have to do. For a brief moment it seems wonderfully easy to live and love and create breathtaking things.”6

1.Geert Lovink, “Nihilism and the News: Blogging as a Mental Condition,” open 2007: 176.
2 David & Burstein, Dan Kline, blog!, ed. Arne J. De Keijzer and Paul Berger (New York: CDS Books, 2005).
3 Miranda & Harrell Fletcher July, Learning to Love You More, 2002, Creative Capital, November 2008     <www.learningtoloveyoumore.com>. van, Willem Weelden, “Wading in the Info Sea,” Open 2007: 176.
4 van, Willem Weelden, “Wading in the Info Sea,” Open 2007: 176.
5 Situationalists, “Situationalists Manifeato,” 17 May 1960, infopool, November 2008 <http://www.infopool.org.uk/6003.html>.
6 Miranda & Harrell Fletcher July, Learning to Love You More, 2002, Creative Capital, November 2008 <www.learningtoloveyoumore.com>.

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Reading “The Virtual Window”

June 19, 2009 · Leave a Comment

Below is a link to the view the beginning process of AuralExpression, the project that is written about in relation to  Anne Friedberg’s  discussion in “The Virtual Window”.  Final project images will be put up shortly.

http://dm.risd.edu/~lalesci/auralexpression.html

Part 2: The Virtual Window

In “The Virtual Window,” Anne Friedberg dissects and reveals the fractures and gaps both in the materiality of film as well as the apparatus through which film is viewed.  She then relates this “message of the medium”  to architectural developments that coincided with its screening. The collaborative, auralExpression, discussed in the first paper is relational to her investigations in architectural elements of the cinematic sensory experience.

Her reliance on the fractures in film’s frame-to-frame nature, together with the separation and distance that occur in its projection, create an “absence of the space–time continuum,”  which is witnessed in the real.   The absence of materiality in the interstices between frames is one of the important aspects of the liminal nature of film.

The transitory quality of film, and projected images in general, emphasizes the subjective consciousness of perception. As a result, the architecture of the structures that exhibited these cinematic media followed the transient structure of the media itself.

Wolfgang Schivelbusch, examining the coexisting relationship between lightness and darkness in cinematic experience, stated “the power of artificial light to create its own reality only reveals itself in darkness.  Darkness heightens individual perceptions, magnifying them many times.”

The theater, a dark windowless room offering only the screen as a “transitional” surface to “destroy the sensation of confinement,”  is analogous to the liminal interstitial space in the materiality of film.  The materiality of film with it boundaries offers a transitional surface into a transformed world.

Anne Friedberg’s analyzes the changing architecture of the theater and its role in placing the spectator in an in between space, where one becomes acutely aware of his/her body. This observation directly relates to the built structure and material used in the collaborative project, auralExpression, which was presented in my previous paper.

The construction of auralExpression is similar to a pipe organ, which channels the movement of wind through pipes to produce sound.  In auralExpression, clear acrylic tubing has been bent to mimic a sine waveform.  The tubing has been fastened to a wall through openings in the surface, which creates the illusion that the pieces of tubing, which appear to weave in and out of the wall, are all interconnected.  In actuality, they’re three pathways that are connected behind the wall to create a passage through which sound can travel.  The tubes act as a transitional surface through which sound may be transmitted to a place where people can gather to experience the piece simultaneously.  Sound, which is immaterial, thereby becomes the “building element ” of a material space.

By focusing attention on the openings that emit sound, auralExpression concentrates individuals’ awareness of their bodies each time they speak or produce sound into the openings.  The voice or sound secedes from its producer’s body.  The transition of a thought from the mind, which is internal to the body, to an external voice or sound, is intensified by the confinement of the acrylic tubing, through which the body cannot travel.  Perception of sound is heightened.

The enhancement of sound in auralExpression through physical architecture correlates directly to the architecture of the theater and Schivelbusch’s explanation of light as a building material.  “The intensity of artificial light images was dependent on the dark, windowless space in which they were seen,” he wrote.   Unlike the structure of the cinematic built on artificial light (emitted from the projector) that Schivelbusch explains, auralExpression is built on the natural phenomena of sound/voice being transmitted through a surface. Its physical construction acts as a transitional surface, thus serving the same function as the screen in a theater.

Similar to Hiroshi Sugimoto’s photographs of the blank and luminous emptiness of cinema screens, the undulating forms of the sculpted acrylic tubing capture the absence of sound.   The tubing is an agent that isolation the auditory senses, contributing to the virtuality of the experience.

Anne Friedberg, “The Virtual Window,” 2006: 116.
Anne Friedberg, “The Virtual Window,” 2006: 154.
Anne Friedberg, “The Virtual Window,” 2006: 152.
Anne Friedberg, “The Virtual Window,” 2006: 151.
Anne Friedberg, “The Virtual Window,” 2006: 152.
Anne Friedberg, “The Virtual Windoe,” 2006: 152.
Anne Friedberg, “The Virtual Windoe,” 2006: 166.
Anne Friedberg, “The Virtual Window,” 2006: 117.

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