Translations/Traductions is a series of Flash vignettes that consider that consider the notion of translation, both of text and video. Based on found open-source archival movies, these Flash pieces re-interpret the original intent of the films.
ABS (La Historia me absolverá) has reworked an existing film about Fidel Castro. Here, the text that is being narrated and presented, is the opening line from a 1953 speech by Castro, “La Historia me absolverá ” (History will Absolve Me) . The text has been translated back and forth using google (whose influence is felt via the determination of available languages, and their preferred order) and the film has been sliced and diced, so to speak. The viewer can interact with the film, pausing the narrative flow.
BAN (About Bananas), combines a reworking of a 1935 film by Castle Films (open-source video), with a scrolling text of an old saying, made famous by Malcolm X in a 1963 speech ” Message to the Grass Roots“. This excerpt from the speech has translated between English and French several times. In the background, Harry Belafonte sings the popular Day O, a slave song about the exportation of bananas.
The Lord’s Prayer
“Lord’s Prayer, The” (2007) takes the original English version of “The
Lord’s Prayer” (in this case, a variation of the King James Version)
and, using the same words, creates an entirely new poem. The work was
created in Flash, and the viewer must navigate the page in order to
see the revision of the original prayer into its new form. In
addition to the text, “Lord’s Prayer, The” also uses both images and
sound to help in the text’s transformation–they evolve as the text
evolves, and all the elements are synthesized at the end of the
transformation, when the new text coalesces out of the old.
Alan Bigelow’s work, installations, and conversations concerning
digital fiction have appeared in Turbulence.org, Media-N: Journal of
the New Media Caucus, New River Journal, FILE 2007/2008,
chico.art.net, and elsewhere. Currently, in addition to teaching
full-time at Medaille College, he is a visiting online lecturer in
Creative Writing and New Media at De Montfort University, UK.
Enter & Re-Exit
BRIEN (xcolwell) from resisttheborg
Enter & Re-Exit was conceived as a party piece that could be projected onto a wall or shared via email. It lets participants form a collaborative net of words that arises out of interpretation of each other’s words. By juxtaposing the word net with a hazy net of imagery created using custom image analysis, this work entices viewers to discuss the connection between what we say and what we see. The experience of sliding through automatically connected imagery is akin to surfing the web but departs from textual links into image links.
This work exposes a new zooming mechanism. By rotating the scroll wheel forward viewers can infinitely glide between images; however, by rotating it back viewers come out into a different part of the scene. This is a twist on the linear nature of the web, where up is always the inverse of down. The continual reorientation that arises from not being able to enter and exit the same door is a prod that encourages more sliding.
Requires an 800mhz processor and a graphics card with 32mb video memory.
xcolwell explores the intersection of communication and experience. He emerged from the silicon fields of San Francisco to invent a new future for the world. Influenced by the original visions of technology, from E.A.T. avoiding “web 2.0”, he works to enable new potential.
These People From Elsewhere
Wilbert Smith directed Project Magnet, the Canadian government’s official
investigation into flying saucers. The project ran from 1950-1954 and
included the establishment of a flying saucer observatory near Ottawa that
housed equipment for detecting magnetic fluctuations in the atmosphere.
There on 8 August 1954, Smith’s instruments displayed signals that led him
to believe that he had detected a flying saucer.
“[t]he deflection in the line [drawn by an electronically operated pen]
was greater and more pronounced than we have seen even when a large
aircraft has passed overhead. I ran outside to see what might be in the
sky. The overcast was down to a thousand feet, so that whatever it was
that caused the sharp variation was concealed behind the clouds. We must
now ask ourselves what it could have been.” —Wilbert B. Smith
David Crawford studied film, video, and new media at the Massachusetts
College of Art and received a BFA in 1997. In 2000, his Light of Speed
project was a finalist for the SFMOMA Webby Prize for Excellence in Online
Art. In 2003, Crawford’s Stop Motion Studies project received an Artport
Gate Page Commission from the Whitney Museum of American Art and an Award of Distinction in the Net Vision category at the Prix Ars Electronica. In
2004, he received an MSc from Chalmers University of Technology and taught at The School of the Art Institute of Chicago. Crawford is currently a PhD candidate studying Digital Representation at the Faculty of Fine, Applied
and Performing Arts at Göteborg University in Sweden. His artwork has been
featured by the Guardian and Leonardo. His writing has recently been
published by Princeton Architectural Press.
The practice and making of artificial life is a metaphor for neo Darwinist ideas about nature and the evolution of organisms. There are numerous convincing arguments for and against Darwin ‘s theories. Indeed the ideas hidden within Darwin ‘s narratives depend as much upon who is telling the story, when it is being told and by whom, without forgetting the organic species themselves. In fact one could easily discuss the evolution of the story of the evolution of a species. Similarly the artwork, Gardenus allows the user to change one of Darwin‘s evolutionary tales and as such participate in the endless reproductive possibility of the signification of an organism.
“in the struggle for survival the fittest win out at the expense of their rivals because they succeed in addapting themselves best to their environment ” Charles Darwin 1859
Mark Cypher received a Master of Visual Arts in Sculpture , in 1995, from Sydney University, Australia, and is currently a Senior Lecturer and Program Chair for Multimedia at Murdoch University – Western Australia. Cypher has participated in several international exhibitions, including “404 II International Festival of Electronic Arts”, Rosario, Argentina, “Beapworks”, Australia, “VII Salon International De Art Digital”, Cuba; “Siggraph2006″, Boston, “File06″ Sao Paulo, “NewForms06″ Vancouver; “Collision 06″ Victoria, Canada; ” RRF2006,Festival International de Arte Digital” Rosario, Argentina; BEAP (Biennale of Electronic Art Perth), Australia; “Bios4″ Seville, Spain ; Perth International Arts Festival, Australia.
Imagine when you were 8 years old, travelling by car (or train), looking into the landscapes and discovering the world. Now, try to remember where could reach your imagination!
Daniel Hanai is 35 years old and now he has been working for a instuition that provides cultural events as curator for plays and concerts. Beside his work, he develops activities in digital short movies an web-art.
Make Your World
Yong Hun Kim
‘Make Your Landscape’ is about how audiences in the digital age consume arts.
Much has been discussed about the impact of new digital technologies on art forms and artistic practice. This work turns the focus on the audience, reflecting on how people participate in the production of art and in turn, its ownership in this digital age.
Yong Hun Kim was born in Korea in 1980. A current visual arts student at the University of Sydney, Kim’s practice focuses on photography based media arts.
Spamology is an audiovisual representation of word frequencies in spam e-mail messages.
the visualization is based on analysis of a private archive of spam messages which were collected during 10 years (1998-2007), containing up to 2,000,000 emails originated from various parts of the world.
Spamology is a part of ongoing research examining the nature of Spam as a digital-cultural phenomenon. The project aims at visualizing the links and interrelationships between the contents of spam, the user/individual and the society, by revealing patterns in spam which may reflect cultural and social trends, behaviors and variations.
Irad Lee is a crossmedia designer working with mobile audio systems and experimental media design.
Careful Messenger Online
Careful Messenger Online is an extension of a residency at the State Library Queensland. I undertook research there into my grandfather’s time as a dispatch rider in Gallipoli and reflected on the role of the library in an age of digital research. I like to pare back the technology in my work, so while the Careful Messenger works run off a realtime video game engine, the interaction I had in mind was noise triggers and image reflection. However, no cameras were allowed in the State Library, so I thought it might be nice to make this component an addition to the project to reflect the viewers of this work in the eyes of my grandfather’s horse.
Lives Brisbane, Australia. Plaisted’s work has been exhibited in Australia, Korea, Mexico, Singapore, UK, USA and reviewed in Artforum. Current interests include exploring game tools in art installation, collaboration and play.
Art Conquest is a videogame art piece, that intends to place the player in the situation of the artist and artist curator, in a ludic manner, the player confronts in a ludic way diverse dramas and realistic situations, though they don´t seem to be that realistic.
With an emphasis on individualism, Solo Exhibition critiques the elasticised relationship between the gallery/museum, the artist, and the viewer within a virtual context. How necessary are these elements for art to be genuinely successful? As our lifestyles become increasingly technofied, how necessary is it for the artist to be involved, or for any physical materials to be used in the process of “art-making”? Above all, how has the role of the artist, the art object, and the art experience undergone a transfiguration as a result of the endless virtual phenomena encoded into our daily lives?
Solo Exhibition is a show with virtually no physical limits beyond the size of your computer screen. There are no physical materials. It is quite possible that there is no gallery, or even artist for that matter. Unless someone is sitting next to you, there are no other viewers; only you. So take as much time as you need, as there is no one waiting behind you to see the work.
In 1981, Nathan Stevens was conceived aboard a small vessel in the choppy waters of the Bay of Fundy in the North Atlantic. Living under the guise of “media and/or installation artist”, he works and resides in Perth, WA and Skowhegan, Maine, USA.
Your life our movie
“Your life our movie” is an interactive on-line movie based on flickr.com database.
Born in Montevideo-Uruguay, 1970.
Live and works in Sao Paulo, Brazil.
Multimidia Design – Communication and Arts School, Senac University – São Paulo, Brazil.
Fashion, Art and Culture MA(2007) – Fashion School, Senac University – São Paulo, Brazil.
Online/offline Video and Digital Technologies (2007) – Mecad Mídia Center – Barcelona, Spain.
Sao Paolo Cultural Center – annual exhibitions program – 2008
MARP Museum of Contemporary Art – Sao Paulo – 2007
Selected Group exhibitions
Nature, the gaze of the artist – MAC, Contemporary Art Museum – Sao Paolo – 2008
Óptica – Gijón Internacional Video Festival, Spain – 2007
3th Pocket Films Festival – Pompidou Center – Paris – 2007
Curator of Motomix New Media Festival – Sao Paolo, 2007
Remembering Bogle Chandler
The bizarre and tragic deaths of Margaret Chandler and Gib Bogle on the banks of the Lane Cove River in Sydney, 1963, remain an elusive and intriguing Australian mystery. This website explores the theme of inconsistent and impermanent memory, allowing you to shift forward and backward through time, space and point-of-view, and so compare eyewitness accounts of the deaths. The story is represented by a dynamic montage of sound, image and text, and is controlled via a map/graph interface. As you progress through it, the project becomes less about solving the crime and more about revealing the enigma of individual experience and interpretation. It is also about how a time and place, in this case Cold War Sydney, inescapably shapes the perceptions of the people who live within it, and how people who suffer an unexplainable tragedy are often blamed for it. It is the story of an improbable murder or an implausible accident; a puzzle without a solution where objective truth becomes impossible to grasp because it does not exist.
Rebecca Young is a new media artist and academic living in Melbourne. She creates interactive stories that combine animation, text, audio and experimental interfaces.