Posted by Barry Jones

Black & Jones, April 22 – May 10, 2013

2001 Retold, Black & Jones

 visit Black & Jones’s Site

Statement

Our work is based on several assumptions; first, that life is good, second, that two artists working together are better than one working alone, and third, that information is there for the taking. That said, we seek to create new works from both existing and original audio-visual information.

We are part of a long line of collage theorists extending from Kurt Schwitters to Kara Walker, from John Cage to Brian Eno.

Using the techniques of digital sound and video editing – both in the studio and in live performances – our work explores the history of cinema, the culture of the Internet, the richness of language, the pervasiveness of music and all the ways in which media intersect and interact to create new languages expressive of our time.

In 2001 Retold, we ripped a dvd of Kubrick’s classic film 2001: A Space Odyssey and divided it up by dvd chapters. We then asked a variety of people to watch one chapter and recorded their retelling of the narrative. The original movie was then re-edited to match this retelling.

2001 Retold – Chapter 12 from Black and Jones on Vimeo.

Tagged ,

Channel TWo to Launch “Instances” and Lecture at APSU on April 9, 2013

Channel TWo Terminal

 

Project Information 

An instance is an intentional hidden message, inside joke, or feature in a work such as a computer program, movie, book, or crossword. Some [instances] may be intentional tools used to detect illegal copying, others are clearly examples of unauthorized functionality that has slipped through the quality-control tests at the vendor.

“Channel TWo: Instances” consists of thirteen augmented reality instances hidden across the campus of Austin Peay State University, beginning on April 9 and running through May 10. Each instance will direct you to a Channel TWo, downloadable friendly care package. All thirteen instances, you will need to download the Layar augmented reality browser by going to the Layar website and downloading the browser onto your iPhone or Android phone (http://www.layar.com/download/). In order to begin finding instances, visit the Channel TWo site for instructions at: http://www.onchanneltwo.com/instances

 

Bios

 

Adam Trowbridge and Jessica Westbrook collaborate as Channel TWo (CH2), a studio/research construct focused on mixed reality, media, design, development, and distribution, authorized formats + unauthorized ideas, systems of control + radical togetherness. Channel TWo is loosely aligned with the concept of over-identification, Slavoj Žižek’s description of a tactic intended to reveal the hidden nature of dominant ideologies — not by pointing to them but by becoming extreme forms of them. CH2 intersects joyful/play-oriented aesthetic experiences and user interfaces with challenging social undercurrents. Projects take the form of computer viruses, virtual environments, augmented realities, and motion/generative graphics. CH2 was awarded a Rhizome Commission in 2012, a Turbulence Commission in 2011, and a Terminal Commission in 2009. Trowbridge and Westbrook are both Assistant Professors at The School of the Art Institute of Chicago where they teach in the Department of Contemporary Practices and the Department of Art and Technology Studies.

Tagged ,

Lei Han, April 8 – 19, 2013

Lei Han Terminal

 

Lei Han is a new media artist, educator and designer. Fascinated by the influences of eastern philosophy in western art, especially in modern and contemporary art, her recent work aim for creating the cohesion between spirituality and creativity, and as well as making new connections between artist, viewer and object/subject. Lei’s current work, in experimental video, digital animation, video art and interactive video installation, has been exhibited at galleries, museums, and film festivals nationally and internationally. Including Krannert Art Museum, the Arts Center, St. Petersburg, Asheville Fine Arts Theater, North Carolina Visions, and Shenzhen & Hongkong Bi-City Biennial, China.

Lei received her BA in fashion design from Shenzhen University in China and her MFA in computer arts from Memphis College of Art. She is currently Assistant Professor of Multimedia Arts and Sciences at the University of North Carolina at Asheville and board member of The Media Arts Project.

http://nm.unca.edu/~lhan/mysite/

Tagged

Rosa Menkman, March 18 – April 5, 2013

Rosa Menkman Terminal

 

Every technology possesses its own inherent accidents. Rosa Menkman is a Dutch artist/theorist who focuses on visual artifacts created by accidents in both analogue and digital media. The visuals she makes are the result of glitches, compressions, feedback and other forms of noise. Although many people perceive these accidents as negative experiences, Menkman emphasizes their positive consequences.
By combining both her practical as well as her academic background, Menkman merges her abstract pieces within a grand theory artifacts (a glitch studies). Besides the creation of a formal “Vernacular of File Formats“, within her static work, she also create work in her Acousmatic Videoscapes. In these Videoscapes she strives to connect both sound and video artifacts conceptually, technically and sometimes narratively.
In 2011 Rosa wrote the Glitch Moment/um, a book on the exploitation and popularization of glitch artifacts (published by the Institute of Network Cultures), organized the GLI.TC/H festivals in both Chicago and Amsterdam and co-curated the Aesthetics symposium of Transmediale 2012. Besides this, Rosa Menkman is pursuing a PhD at Goldsmiths, London under the supervision of Matthew Fuller and Geert Lovink.

 

Tagged , ,

Interview with Joseph DeLappe

Joseph DeLappe is a Professor of the Department of Art at the University of Nevada where he directs the Digital Media program. Working with electronic and new media since 1983, his work in online gaming performance and electromechanical installation have been shown throughout the United States and abroad – including exhibitions and performances in Australia, the United Kingdom, China, Germany, Spain, Belgium, the Netherlands and Canada. In 2006 he began a project dead-in-iraq , to type consecutively, all names of America’s military casualties from the war in Iraq into the America’s Army first person shooter online recruiting game. He also directs the iraqimemorial.org project, an ongoing web based exhibition and open call for proposed memorials to the many thousand of civilian casualties from the war in Iraq. He has lectured throughout the world regarding his work, including most recently at the Museum of Modern Art in New York City. He has been interviewed on CNN, NPR, CBC, the Australian Broadcasting Corporation and on The Rachel Maddow Show on Air America Radio. His works have been featured in The New York Times, The Australian Morning Herald, Artweek, Art in America and in the 2010 book from Routledge entitled Joystick Soldiers The Politics of Play in Military Video Game.

This interview was conducted with Barry Jones in January of 2013

Valerie Sullivan Fuchs, March 4 – 15, 2013

Valerie Fuchs Terminal

 

Valerie Sullivan Fuchs (valeriefuchs.com) is an artist who works with film, video, video installation, sound, and sculpture to encounter the industrial and electric forms, which mediate our direct relationship with nature, the land and each other. Her work has been shown at “Transparencies and Trans-formations in Contemporary American Art,” U.S. Embassy, Stockholm, Sweden (2010-11); New Albany Public Art Project: Bicentennial Series, New Albany, Indiana (2010-11); Contemporary Arts Forum, Santa Barbara, California (2007); Non Grata Film and Video Festival, Pärnu, Estonia (2006); Galerie Eugene Lendl, Graz, Austria (2005); BELEF Art Festival, Belgrade, Serbia; and “Presence,” Speed Art Museum, Louisville, Kentucky (2005). She has received grants from the Sony Corporation, the Kentucky Arts Council (Al Smith Individual Artist Fellowship), and the Kentucky Foundation for Women. Sullivan Fuchs’ work has been reviewed in Art Papers, Dialogue, American Theatre, the Louisville Courier-Journal, the Louisville Eccentric Observer, and MIT’s electronic journal Leonardo. Beauty Unlimited, 2012 an anthology published in 2012, included a review by Fuchs.  She has published articles in Pitch Magazine and the Louisville Eccentric Observer.  Fuchs is a full-time Lecturer with the Fine Art College’s School of Art & Visual Studies, at the University of Kentucky.

 


boys don’t cry from Valerie Fuchs on Vimeo.

boys don’t cry, 2008, 3:23; is a collaboration between artist Valerie Sullivan Fuchs, choreographer David Ingram, and musician Ben Sollee.  David Ingram who has collaborated with Valerie Sullivan Fuchs on several projects including work with the Ft. Wayne Ballet in Ft. Wayne, IN and the Louisville Ballet dancers in Empujon. Ben Sollee and Valerie Sullivan Fuchs have collaborated on other works, ‘Western|Western’, 2008, and ‘I Need’ which premiered at the Speed Art Museum in 2009. Special thanks to William Morrow, director of the 21c Museum, for introducing David Ingram, Ben Sollee and myself and for encouraging our collaboration. Collection Laura Lee Brown & Steve Wilson.

 


Western|Western! from Valerie Fuchs on Vimeo.

Western|Western, 2008,8:06; is collaboration with Ben Sollee where I asked him to play his cello with a rifle.

This piece was inspired while I was thinking about Western culture, and this question,  ’How can it be that such beautiful cultural artifacts like the cello, violin, and such destructive ones like guns, exist in the same culture?”

So I invited Ben Sollee, whom I had met through William Morrow, the then the director of the 21c Museum, to meet me at a recording studio and play his cello, with my husband’s 22 rifle.  Luckily he agreed, and even though the rifle Ben bowed was 5.5lbs, he managed to play for over an hour creating amazing improvised sounds despite the weight and awkwardness of the rifle.

Collection of Brook Smith.

 


a horizontal line makes a stable image, 2007, Valerie Sullivan Fuchs from Valerie Fuchs on Vimeo.

 

a horizontal line makes a stable image, 66 seconds, 2007

After my grandfather died, I inherited 70 years of family 8mm films. While viewing them, I realized I developed new memories of my mother’s childhood without my being there, or her being present to contextualize them. I began to work with these films, in part, to understand the passing of time but also to visualize the energy or the shape of it within my family’s recorded history.

In a horizontal line makes a stable image, I digitized and edited these family 8 mm films into clips of my mother, then I layered these clips into 42 overlapping layers so I could visualize the arc and energy of her life in 66 seconds.  This memorial to my mother includes the sound of the last 66 seconds of a piano piece she played often at my request.  Each note is edited into an arc where the first note would play forward and then would repeat in reverse.  The destabilization and destruction of the shape of a family after the death of a loved one happens over time and continually reforms like the memories of them.

This was a part of  ”Finding Family”; curated by Karen Gillenwater,  21c Museum, Louisville, KY & Mount Sterling, KY’s Gateway Regional Art Center

Tagged ,

Morgan Higby-Flowers, February 18 – March 1, 2013

Morgan Higby-Flowers - Terminal

 

 

Morgan Higby-Flowers is an American artist based currently in Clarksville,Tennessee. He
received an MFA in Electronic Integrated Arts from Alfred University in 2011 and a BFA in
New Media Arts from The School of the Art Institute of Chicago in 2008. Morgan has
participated in multiple exhibitions including GLI.TC/H in Chicago and The Bent Festival
in Brooklyn NY. He recently performed live in the parking garage of the Museum Of
Contemporary Art for The Dirty New Media Round Robbin in Chicago, Illinois. He is
currently a visiting assistant professor of New Media Art at Austin Peay State University
in Clarksville,TN.

 

Statement:

My interests circulate around particular areas of the New Media Art spectrum,
specifically, work that incorporates discarded technologies. My aesthetic sensibility
tends to pursue encounters with wonderment, combining visual representations with new
deformations.

I use obsolete technology to create “no-input” systems that produce their own inherent
visual and audial elements. Antiquated AV equipment is devalued in our society where
“newer is better.” An item that was priced at ten thousand dollars in 1983 is perceived as
trash in 2013. Analog technology is inherently more malleable than digital. In my work,
antiquated machines create new and informed back leaps forward.

Tagged , ,

Winners of the 13 – 14 Terminal Awards

Juror Greg J. Smith  has selected proposals from four artists for the 2013 – 2014 Terminal Awards. Projects by Gottfried Haider, Josh Hite, Frederick Witold Ostrenko, and Atif Akin were selected.

 

Juror Statement

In selecting the 2013 Terminal Awards recipients, proposals were evaluated based on the provocativeness and clarity of project outlines, the strength of related past work and the manner in which proposals directly engaged the internet, as a medium. The four selected proposals are listed below.

Gottfried Haider’s “Drawing Circuits” playfully proposes a rudimentary browser to 3D milling machine workflow through which visitors to a website can draw electronic circuits and then manufacture them. In conflating the sketchpad and the electronic enthusiast’s workbench this project promises to create both a social space and an educational tool.

Frederick Witold Ostrenko’s “Conglomeration” is a sharp critique of the carnivorous capitalism of Silicon Valley that will transform the logic of a crude game prototype into a First-person shooter (FPS). Ostrenko’s proposed game riffs on the informatics of gaming and the ubiquitous data streams and visualizations of financial markets.

Rather than plug work into the tedious trappings of stock web portfolio templates, Atif Akin’s “The Mutant Space” proposes a sincere rethinking of online photo archives. Utilizing Processing.js and experimenting with the capabilities of modern web browsers, this work promises to construct a dynamic space to exhibit the eerie non-place qualities of a collection of photographs documenting urban environments, frozen in time by the Chernobyl meltdown.

Delving into the world of vernacular video, Josh Hite promises to stitch together a video comprised of footage of ‘trundling’ – the rolling of rocks and boulders down hillsides. Curating a meditation on the essential qualities of landscape through YouTube footage might seem counterintuitive, but Hite’s past work demonstrates his capacity to identify and foreground strange idiosyncrasies and patterns, culled from the natural world.

Greg J. Smith February 2013

Tagged , , , ,

Boom! Live Video Performances 2.1.13 at 6 pm

Terminal - Boom!

 

On February 1st at 6 pm, Terminal presents “Boom!” a live video performance event at the Coup in Clarksville, TN. Boom! will feature Charles Woodman, Morgan Higby-Flowers, Aaron Hutcheson, and Barry Jones.

Tagged ,

Charles Woodman, February 1 – 15, 2013

Charles Woodman - Terminal

 

Charles Woodman has been working in the field of Electronic Art for more than twenty years and has been a Professor of Fine Arts at the University of Cincinnati since 1999.

His recent projects have concentrated on the integration of video in live performances, often in collaboration with musicians or dancers, and on the creation of video installations for museums and galleries.

Exhibitions of his work include screenings at the Block Museum of Art in Chicago, the New Interfaces for Musical Expression conference in Vancouver, Canada, the Black Maria Film and Video Festival, Edison, NJ, the American Dance Festival in Raleigh, NC, the San Francisco Cinematheque, and the Museum of Modern Art in New York.

 

On Friday February 1 at 6 pm Woodman along with Barry Jones, Morgan Higby-Flowers and Aaron Hutchenson will be performing live video at the Coup in Clarksville.

 

Woodman was founding member of the video performance group viDEO sAVant and is currently working on the design of a new instrument for use in real time performance, a “gesture based interface for real-time control of video playback.”

Tagged , ,