Short Presentations – 01w


Peter Gorman – Toward a Mind Controlled Strange Attractor
Morgan Barnard – Improvisation as a methodology for content creation in Live Cinema
Emil McAvoy – A New Mediation of New Zealand Government Photography
Max Bellamy – Microcosms
Stella Brennan and Zita Joyce – Cloudland
Laura Preston – The Future is Unwritten exhibition as proposition
Tim Coster – Beyond digital processing and distribution


Peter Gorman – looking at radio transmitters aka Tetsuo Kogawa. Simplest transmitter and radio transmitter. Tetsuo redesigned it for him.
Project shown: Radio Pendulum – Image of installation displayed: 2 large screens, noisy images derived from 2 tv transmitters mounted on pendulum room, with 3 radio transmitters and 2 tv transmitters mounted on a pendulum.
Project shown: Sound reactive video wall –  Radio feed. Photo resistors on video projection. People playing with transmitter seeing.
Project shown: The Evolution of the Fustigator – fashionable perspex box ;). Performance at a closing in Dunedin.
Project shown: Volt – sound collaboration – first collab last weekend in Dunedin.
Project shown: Phase Loop Plasma – pure data nad oscilloscope – image of moving fluorescent looking light pulses w related sound.

Audence Question: What is a Strange Attractor?  — 1 minute definition: Zero volume in phase space where a system will gravitate. the onset of turbulence in a flow. At a certain velocity turbulence will occur. A vortex is created – around that zero-space point. Which is strange because – why there? – LOUD APPLAUSE AND CLAPS and WOO noises.

Emil McAvoy – Artist, academic, writer, freelance curator. Teaches at Victoria and Massey. Curatorial Project: Archives New Zealand, Scholarship Project (to work with it’s photography archives). The archive is a conundrum, and present those to you within these images. Images of 2 men and a boy outside of temporary looking wooden building – state housing. Interested in the politics of digitizing content and the access and understanding. Got permission to use the National Publicity studios Collection – a 1927-1987 massive collection of government sponsored photos. Filed as negatives and completely analog. Interested in image streams and sets; colliding images; understanding images in different ways. Using random process and chance to create new relationships.

The images show is what you would expect to see — propagandistic — but no metadata or informaiton about what is in the photos. Scholarship remit to apply new media to collection and show it to be relevant. Tour manager and publication manager. Dixon street flats image and lots of sheep. An image like — framing of women and maori interesting to him. Woman and girl holding a golf club and stripping over the edge of a hill in high grass. A bunch of floating archival objects – representing a (highly constructed) view of new zealand. Image of burning hillside – documenting colonisation. Structuring colonisation. View of waxeye bird on hand near a maori-carved smoking pipe. Images set up to create ‘no.8 wire’ and ‘man alone’ and sideways moment of the slippages and why can’t I stop looking at it (image with bird). Hearing the call of a collection and responding to that, to make the collection sing.

Morgan Barnard – Glad to be involved. Interested in the improvisation field of live data and interested in using terms of cinema. Exploring roots of improvisation in order to come to an understanding of his practse which is in the live performance area. Looking at film grammar and it’s motifs in a way to work with it in real time. Worlds associated with improvisation –  ‘in the moment’, ‘off the cuff’, ‘random’ – but it is about being prepared and being able to adapt in the moment. Working in interactivity – audience creating their own way to navigate a space. Real-time compositional approach for cinematic content. George E. Lewis, “Jazz put improvisation back on the world table”… Editing tools – the physicality of celluloid images. When at school 8GB was amazing, now has 4GB in pocket. Electronic signals – tape-based. Can’t insert edits into, to improvise. Digital has multiple layers and timelines. Now very sophisticated. But still not that different from a tape – linear. Looking for new tools.
Video played: A live performance. People from the audience bringing things up to him to film and display as a part of the work. So was video sampling during the live performance. He’d had a dislocated thumb, so had to shoot from camera. This was the starting point into the exploration for this area. Onscreen: people advertising for a flat. When the audience brought objects, he would film and live manipulate them on screen. Stack of records at venue (mighty mighty) was used. Anything in environment fair game. Interested in taxonomy of visual language. Wide-shot next to a wideshot — explore footage that is heavily tagged.

Max Bellamy – From Dunedin school of art. [nb – Pres was a quite densely written summary of his works, difficult to paraphrase, this below text is unrepresentative]. Project showng: Microcosms – young artist grown up with playstation and geting frustrated with feeling like he was spending a lifetime in front of a screen and editing suite. Wanted to get his hands dirty and make things. References to baudrillard and zizek. Relationships investigated and attractions between modern condition. Re-authored a pastiche of banal meaning. Channel-surfacing. Presence and might of miliary unrealised. Effective collective. Project showng: The last infatuation – Images of close-ups of diorama models and sets. Bodily relationships explored – a head-high pocket universe. The screen and mediaxunous – or intermedia. Perceived social barriers to socio-political. Reframing of statistics into a more striking and digestable format. Works to be in an exhibition called Preview in 2009.

Quesitons: Models ordered from all over the world as a conscious reflection of subject matter. Feeling of too much time behind the screen led him to wanting to get his hands dirty.

Stella Brennan and Zita Joyce – Showing exhibition realised in ISEA 2008, which Su was not able to attend – despite having largely connected the thinking for the works for the show – due to arrival of young charlotte (daughter). So Zita and Stella showing the show to Su. Su was at Transmediale – discussion with Guna as to how to represent a country without doing the expo approach. Realised couldn’t do by herself so talked to Zita and Stella and pulled it under the ADA umbrella. Show was at the Substation. Directors there have a history of being imprisoned before, after or during that working role. So a very different cultural context. Lovely but late-waking technicians. Images of installation setup work. Et Al’s installation – and Alex’s work being installed. Opening night – Reaction to sheep as exotic “I’ve seen these animals at the zoo” and “how are the farmers remotely controlling the sheep?”. The great tornado potato dish as modelled by Zita Joyce. A view of Alex’s “Composition for Farmer…” work installed. Kentara Yamada’s work shown, Et Al’s work which read interestingly in this cultural context. Chainlink fence had to be custom made. Adam Willet’s works installed. Opening night with the huge concert going on alongside the opening, on the same stre. The star  performer there was a failed american idol entrant. Sony Ericsson and SinTel had organised the event and shut off the whole street. Had to get a walkway created for the opening to proceed. Substation was annoyed as they had been unable to get permits to do street festival for years, yet allowed Sony Ericsson. Images of the sound performance evening – including Adam Willets and Nathan Thompson (with Su feeding in to perform via skype at 3am NZ time) performances. Image of book launch and panel discussion at the National Museum. Images of the fantastic radio spectrum show – SPEKTR! – by Marko Peljhan there (orginally commissioned by Honor Harger as part of the ’08 AV Festival I believe) ( Images of tiger balm park (Haw Par Villa –

Laura Preston – Curatorial Project: The Future is Unwritten. [An eloquent preso – a publishing of her actual paper would be more representative]. Asking whether there might be a new curatorial model in addition to those currently in wider use. A shifting away from an institutional framing of the curator. The art historical approach that looks as a specfiic period, artist. Or of providing a space and letting an artist produce – which takes on the art market pressures. Paul [missed name], “there has been a shift away from the 60s view of the curator as an intellectural working in position of [opposition?] to the institution “. Wyston Curnow as an example of this. The view now is of a more centralised position as on a wider stage, with more social and political connections. What curators are vs what they do. Now many forms beyond space. empahsis still on exhibition, catalogue… many institutions have moved beyond illustration. Curating is adaptive version […]. This is where she would like to position herself – working betwen institution and space providing popularist – build on conversations and adapt to cultural currencies. without servicing a communication expectations. Important that outcomes are unpredictable, to provide space for criticality.

In the show there is a change in perceptions of a curator. Little discourse on it’s practise. Works may not be seen. Political impact knowing the future. Based in own practise. Space for interdisciplinary dialogue. Both for what art can do for that field of inquiry as well as re-engage art’s purpose. Adam Gallery – doubleweight. Great performative potential. Knowledge capital – continually reminds itself. The university is a free space for critical engagement. TFU is an ongoing conversation across various spaces – email, skype, curatorial role verbal space and editing. providing clear access points for the view. artists – participation through to self-determined. enable multiple spaces. failure as a disruptive ingredient. As a collective we do not know what is yet to come.The exhib is a temporal experiment and based on unpredictable reception from public.

The history of institutional critique – seen as instrument for bourgeois that relies on co-opting. The politics are aware of and expanding on an institutional critique – extending to the web.  The politics of aesthetics and the aesthetic discussion of politics. Reflecting on the state of the world, not the state of art. A proposal for how things can be seen. an offering, not a hand out, but tools. Opens on the 10th of July.

Tim Coster – [Difficult to hear – write-up missing detail]. 3 minutes enough! Thinking about the way technology ubiquitous and we are forgetting the analog. Use of live room recordings as a distortion, and random layering of things. Looking into a single space and single time. What is important to him. Use of technology to have certain results. Quite simple parts. Field of instrument recording – short loops chosen for singular aspects of the sound. Recombining and composing on the spot. Precisely placed at the time, but brings up the aesthetics of the technology. With tape disks or distortion, there is a nostalgic representation of where sound comes from which he sees as problematic. Working away from a digital editing way of making an audio piece where you have precise control over placement and duration. Looking for less conrolled way to create sounds. Studio vs. live and making a conscious decision either way. The situations dictate the work. Kind of implicit in the work. Q: Use of room recordings and shifting the pitch — layering — mentioned PD’s binaries. A: I think the treatment of tape and speed – is exactly what is – the two create the space. Work at ELAM on hockets – didn’t work but still influenced the way his layering up of things onto each other works. People think of granule synthesis of being a software – but is made up of the particles of sounds. Su – environment itself as the material. The sense that each of these different things are very real practises. Operating within a sense of material practises.

One Response to “Short Presentations – 01w”

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