Monday, December 31, 2007
Sunday, December 30, 2007
Friday, December 21, 2007
Thursday, December 20, 2007
AbstractPhenomenology primarily relates to discussions of consciousness by philosophers of the 20th century: Husserl, Merleau-Ponty, Sartre and Heidegger. It is a philosophy of personal, individual reality rather than the absolute reality of ontologists and functionalists. I shall try to give thumbnail sketch views of these forbidding sounding concepts as they have affected me as a computer scientist who tries to understand whether machines may help us to understand consciousness. So I shall describe virtual machines in general as they offer an opportunity in information science to discuss consciousness without crashing into 'the hard problem' of links to a physical substrate. I shall explain what are functional virtual machines that are judged by their behaviour and then phenomenological virtual machines which are judged by their ability to create usable inner worlds. I shall suggest that visual artists are special as they make explicit some aspects of their phenomenal worlds. This type of communication is still an open question in computer science but one where interest in art may prove to be beneficial for both the artist and the scientist.
Wednesday, December 19, 2007
In the second half of the 1960s and early 1970s the avant-garde group OHO had a very important impact. When the group first began they were centred around the notion of Reism (from the Latin word 'es', ie. 'thing'). The members of OHO wanted to develop a radically different relationship towards the world: instead of a humanistic position...
Tuesday, December 18, 2007
Within the framework of the 'Europe NOW/Europe NEXT' (a culturebase.net project conducted -- in cooperation -- by the Baltic Sea Culture Centre, the Danish Center for Culture and Development, the House of World Cultures, Intercult and Visiting Arts and developed with the support of the Culture 2000 programme of the European Union):Europe NOW/Europe NEXT aims to provide a space in which a multi-lateral intercultural dialogue can take place that transcends national boundaries and national debates, and examines, acknowledges as well as celebrates the contribution of all of the diverse communities of Europe to the cultural heritage of Europe NOW. Europe NEXT is concerned with how the shared European values of democracy, justice and human rights find expression in the practice of artists and the work of cultural institutions. It facilitates a dialogue between new EU states, prospective EU members, and the EU's neighbouring countries (such as Ukraine, Belarus, Moldavia and the Middle East).
Detailed description:CULTURAL VERSUS NATIONAL BORDERS ENCOUNTER, AS PART OF THE PROJECT EUROPE NOW EUROPE NEXT
Monday, December 17, 2007
The “Hybrid Art” category is dedicated specifically to today’s hybrid and transdisciplinary projects and approaches to media art. Primary emphasis is on the process of fusing different media and genres into new forms of artistic expression as well as the act of transcending the boundaries between art and research, art and social/political activism, art and pop culture. Jurors will be looking very closely at how dynamically the submitted work defies classification in a single one of the Prix categories of long standing.
Autonomic Installations and Artworks
Performance and Stageprojects
Media based Interventions in public spaces
Mechatronics / Kinetics / Robotics
Location based and geospatial storytelling
Multi user environments
Annotation software tools
Software Art, Generative Art
Sunday, December 16, 2007
Yugoslavia, 1967, 15 min, 35 mm, black and white
written and directed by: Zelimir Zilnik
camera: Mihajlo Jovanovic - Cigasound: Dragan Stanojevic
edited by: Dragan Mitrovic, Slobodan Mladenovic
production: Neoplanta film, Novi Sad
Awards at the Short and documentary film festival in Belgrade, 1967: “Zaromet” of the film magazine Ekran and Award of youth jury
LITTLE PIONEERS (Pioniri maleni mi smo vojska prava, svakog dana nicemo ko zelena trava)Yugoslavia, 1968, 18 min, 35 mm, black and white
written and directed by: Zelimir Zilnik
camera: Miodrag Jaksic Fandjo
sound: Dragan Stanojevic
edited by: Dragan Mitrovic
production: Neoplanta film, Novi Sad
Award at the Short and documentary film festival in Belgrade, 1968: Silver Medal “Belgrade”
THE UNEMPLOYED (Nezaposleni ljudi)
Yugoslavia, 1968, 13 min, 35mm
written and directed by: Zelimir Zilnik
camera: Petar Latinovic
edited by: Milica Policevic
production: Neoplanta Film, Novi Sad
festivals and awards: Won an ex aequo Grand Prix of the city of Oberhausen 1968, and Silver Medal “Belgrade” at the Short and documentary film festival in Belgrade, 1968
JUNE TURMOIL (Lipanjska gibanja)
Yugoslavia, 1968, 10 min
directed by: Zelimir Zilnik
camera: Dusan Ninkov
sound: Bogdan Tirnanic, Branko Vucicevic
edited by: Miodrag Petrovic - Sarlo
production: Neoplanta film, Novi Sad
awards: Spezialdiplom der Festspielleitung der Wesdeutsche Kurzfilmtage fur den verkannten Film der XV. Wesdeutschen Kurzfilmtage, Oberhausen, 1969.
BLACK FILM (Crni film)
Yugoslavia, 1971, 14 min, 35 mm, black and white
directed by: Zelimir Zilnik
camera: Karpo Acimovic Godina
sound: Dusan Ninkoveditor: Kaca Stefanovic
production: Neoplanta film, Novi SadAward: Award of the critique and award of the evangelistic jury, Internationale Kurzfilmtage Oberhausen, 1971.
MARCH 31, 2007, Saturday, 20:00, Gallery of SKC Belgrade
Screening of the movie: SOAP IN DANUBE OPERA
2006, 70 min
authors: Ljilja Dinic, Sofija Petakovic, Zdravko Pranjic, Ljubisa Astepanovic, Muhamed Eljsani, Vitomir Pucar, Salji Hasani, Zoran Borovac, Fjurim Eljsani, Vladimir Savcic, Aljus Heljsani, Muhamed Maroti, Bojan Grcic, Senad Mutapi, Milan Janic
editing: Branislav Klasnja, Marin Malesevic
art director and mentor of video workshop: Zelimir Zilnik
production: Terra film, Novi Sad
Hmmmm. And aren't honeycombs hexagonal, too?
Saturday, December 15, 2007
Europe NowEurope Next
"Immigrants should understand from Black people what Islam means in America, because African-Americans have been doing it for 400 years."-- Sohail Daulatzai
[I] work in Dhaka/New York as a visual artist, using video, photography, archive and text. Areas of investigation include national security panic, failed revolutionary movements, and the slippage between utopia and dystopia. I also intervened as part of Visible Collective, doing a multiyear investigation of hysterical conditions.
Thieves of the invisible tricked Amazon.com's 'Search Inside the Book'function ... getting away with the complete volumes of copyrightprotected books.
Friday, December 14, 2007
The border between the U.S. and Mexico has moved between the virtual and the all too real since before the birth of the two nation-states. This has allowed a deep archive of suspect movement across this border to be traced and tagged - specifically anchored to immigrants bodies moving north, while immigrant bodies moving south much less so. The danger of....
A resource for activists using mobile technology worldwide.
Tuesday, December 11, 2007
...The drawing to the left is by Ferdinando Galli-Bibiena and is entitled Scena Per Angola. It was published in his 1711 text L'Architettura civile and proposed a new two-point perspective system for backdrops in stage design. The drawing communicates the connection between stage (foreground) and setting (background) and ironically it skews and distorts the architecture it schematizes so that the backdrop will read as a more believable perspectival projection from the vantage point of the audience. As the product of a multi-generational family of architects and stage designers, Galli-Bibiena was well aware of the potential for...
Monday, December 10, 2007
The result is a non-linear and interactive film, where the audience can decide the plot by selecting a series of links which are generated by a key word. The system was created in 2000 to make the film [korsakow syndrom] , dedicated to a degenerative pathology of the brain of alcohol addicts which destroys their short term memory and make them unable to find space-time directions. The stories are fragmented and not necessarily coherent and are the basic model for Florian's not linear narrative.
Sunday, December 9, 2007
New kinds of synchronization of interactive participants may emerge as today’s answer to the dynamics of bygone theatrical celebrations. Conversely, strategies used to instantiate boundaries of theatrical art may inspire new forms of locative media...
"Let's Make Love and Listen to Death From Above,"
Brazil's wonderful party dance explosion CSS have a new video for the song Alcohol off of their debut album Cansei De Ser Sexy. The video was directed by contsest winner/awesome director Jared Eberhardt. Watch some bunnies get drunk .
Saturday, December 8, 2007
Bodies in Cyberspace is the latest exhibition in the Netspace: Journey into Net Art, a series curated by Elena Giulia Rossi. The project was initiated by the Educational Service and set up with its support. Its aim is to offer the necessary tools to get acquainted with net art, the contemporary artistic art practice that uses the internet as its only creative tool.
Bodies in Cyberspace highlights the body and its dematerialisation in cyberspace. The creation of avatars, out-and-out virtual alter egos, allows for the shaping of new physiognomic characteristics and social identities specifically created for the net community. The six selected works investigate bodily metamorphosis in cyberspace and how “physicality” is moved beyond the screen, the birth of new identities, and the perception of the physical body as transformed through the ease with which technology can affect natural biological systems.
The selected works:
Scalpel (2003) by the French artist Nicolas Clauss is a multi-dimensional interactive painting. Loaded with pictorial references, this project is a reflection on mankind, on the human body, and on the self-awareness.
Big (2001) by the British artists Simon Fields and Katrina McPherson belongs to the “hyper-choreography” genre, an alternative approach to traditional choreography that employs digital technology and the internet to create interactive projects.
Portal (2003) by Yael Kanarek is a work of net.dance that combines the traditional techniques of screen design with digital interactivity. The project is the result of the collaboration of the artist with the choreographer Evann Siebens and the composer Yoav Gal. Portal is part of the larger project World of Awe. Commissioned by Turbulence.org
Bodydrome (2001) by the Italian artist Marcello Mazzella is an interactive body in the semblance of an imaginary airport that uses the metaphor of travelling to explore the connections between life, art, technology and science.
Elastic Body (2002) by the Japanese artist Yugo Nakamura is a graphic simulation of a flexible body obtained through the translation of the physical laws of the body’s flexibility into computer code.
Eisenstein’s Monster (2007) by the British artist Chris Joseph is an interactive video that recalls Mary Shelley’s Frankenstein and Sergei Eisenstein’s editing theories. It makes an ironic comment on the effects biotechnology has on mankind. You can create your own digital creature by building a mosaic of the various parts of the facial elements, thereby transforming biological elements into bio-digital ones.
Nov 29, 14:26Trackback URL
Chris Joseph » Eisenstein’s Monster in Rome:
[…] Eisenstein’s Monster piece was mentioned on the Turbulence Networked_Performance research blog yesterday (though the author has unfortunately reproduced the curator’s […]
Friday, December 7, 2007
Thursday, December 6, 2007
This is the drunken-seeming meander of a woman speaking on a mobile phone. I think we all recognize this behavior. I do it myself. It’s a dead giveaway that the person is immersed in a condition of, at best, ambivalent adjacency. You can’t tell me that the woman in this photo is responding to the spatial circumstances around her, except as boundary constraints of the crudest order. She’s surely making space, but her choices in doing so are guided by other logics than those that have governed urban form throughout history, the conditions that undergird our understanding of walls, doors, thoroughfares, intersections, and such. To me, if anything can rightly be called “schizogeography,” it’s this.
The final discussion panel at True/False held Sunday afternoon was, "The Shock of the New." It was the most passionate documentary panel I've attended in a while—notwithstanding the provocative "21st Century Documentary: Notes on the Evolving Doc Form" panel I attended at Sundance (the official Sundance podcasts are here.)
Toronto Film Festival programmer Thom Powers moderated a panel of four directors whose new documentaries push the boundaries of the doc genre: Arturo Perez Torres (Super Amigos), Fergus O'Brien (The Armstrongs), Brett Morgen (Chicago 10) and Jason Kohn (Manda Bala).
Here are a few highlights of the discussion:
Brett Morgen: "There's a great book on non-fiction film by Karl Heider called Ethnographic Film which refers to a higher truth in non-fiction. And if you know Flaherty's Nanook of the North, what it refers to is the fact that basically Nanook was all staged, but it's capturing what the life is like in way that probably couldn't be done as well in traditional vérité…I think what I'm trying to achieve in my work is achieving a higher—a heightened truth."
Thom Powers: "I feel profoundly nervous when we separate the word documentary from a search for the truth. It concerns me when people use Michael Moore and his blurred tactics to kind of cast dispersions on documentary as a form— 'Well, you can't trust documentary makers, they aren't applying the same type kind of rigor that say Frontline is.'"
Brett Morgen: "It's so archaic…Look, there's truth in fiction and there's truth in non-fiction. When you see a fiction film and there's a moment that works for you, it's because it's communicating a universal truth. And all fiction film is encoded with ethnographic DNA, so to speak. So, I think this notion that fiction is false and non-fiction is real is totally archaic…In the realm of non-fiction, we need to communicate that it is all about truth, and we need people to loosen up…We as documentarians sculpt performances from our characters from vérité in the same way we do in fiction…It is important to know that there's certain media whose sole objective is to expose a "truth." I think that it's important that there's a difference between reading the New York Times (or New York Post, if you're so inclined) or going to a movie theater. And a movie theater is about dreams and about mythology and about shared experiences. And if you want history, read a book."
Arturo Perez Torres: "You go through sometimes a hundred hours and the movie is actually made in the cutting room. When you're shooting you don't really sometimes know what you're going to get. So you are telling a story in a way that's already told in your head. So you're making the story. So I totally agree with Brett. it's totally subjective, I mean that the notion that a documentary represents some truth—the only truth that it represents is that it happened there, but when it's put together it's your own truth in a way. So it's not 'documentary' as we call it truth in that way…With Super Amigos, what we ran into—the subject is so fantastic that we [needed] to treat it in the truest way. So we [shot] fly-on-the-wall style full vérité—no one looks at the camera, the camera doesn't exist. And we would prepare our subjects: 'Please ignore the camera, we're not here.' What it ended up being was the opposite, ironically. [Audiences] would see it as 'that's totally staged' and we were like 'Wow, If they would have looked at the camera once'… So in a way, vérité almost has the opposite effect as what we wanted…"
Joel Heller (asking Thom Powers from the audience): "As a festival programmer…have you given some thought to how to describe the different sub-genres [of documentary films] in ways that help audiences make sense of this huge tent called "documentary"?
Thom Powers: "I should say that despite my role in kind of challenging [the panelists] with my questions up here, I am interested in the genre of documentary as being as wide as possible. I think it's important for us as filmmakers and programmers and journalists to communicate to audiences that a documentary can be different things and it's limiting when people only think of documentary as say a Frontline show. But I think it's incumbent upon the filmmaker, the programmer, other people involved in the film—to communicate what the level of expectation should be when you're coming to this film. As a programmer, that starts with the program notes that we write in the festival guide that express what the style of the film is that you can expect and it's in talking about the films. And I think that there are things that are maybe pushing the hybrid so far that I wouldn't necessarily program them under documentary section, but somewhere else in the festival."
These are not the only docmakers who have been thinking about the evolving genre. While I was chatting with Director Randy Olson (Flock of Dodos) last month, he said he has been wondering why documentaries are not more clearly subgrouped as fact-based documents or opinion pieces. He cites the usefulness of the way newspapers separate their news coverage from the editorial and opinion pages.
As theatrical documentaries continue to grow in visibility, I expect that this conversation is just getting started.
For me, it's refreshing that in contrast to Albert Maysles' insistence that documentary film can and should capture an "objective truth," a new generation of doc makers are exploring how to make the most of the fact that all documentary sub-genres (even vérité) are still ultimately constructions that reflect the filmmakers' perceptions.
As the doc form evolves, the challenge will be how to successfully represent individual documentary films (and set expectations) in an open and accurate way that supports audiences in appreciating each film on its own terms.
ITP Big Screens Testing Round 2 from shiffman on Vimeo.
The Interactive Telecommunications Program (ITP) is a two-year graduate program at Tisch School of the Arts, NYU that explores the creative use of technology. Student creations aim to augment, improve, delight and beautify people's lives. ITP doesn't invent technologies -- we add imagination and invent new uses for existing systems. Areas of focus change as technology, and the interests of students and faculty evolve.
See also: http://luciabigscreen.blogspot.com/
Opinion: The Other Docs
Does the recently announced shortlist for Best Documentary Oscar nominations really include the best titles of the last year? Documentary director AJ Schnack says no, and calls for a new engagement with the art of nonfiction filmmaking. By AJ Schnack
When the Academy of Motion Picture Arts and Sciences announced its shortlist for Best Documentary Feature Oscar on November 19th, many in the documentary community were shocked. Despite a year of debate over new eligibility rules which were supposed to ensure that Oscar nominees were theatrical documentaries, and not television docs in disguise, the Academy's screening committee nonetheless selected just six films which had pursued a true national theatrical release (complete with advertising, screenings for critics, and reporting of box office figures). Some were clearly never more than television pieces and were rushed through their required theatrical release in order to get to their scheduled date with cable TV. At least three of the films have already aired on television in the US.
But it was much more than the TV-versus-theatrical issue which prompted emails and text messages and phone conversations containing words like "sad," "disgusted," "appalled," and "abomination." It was the films themselves—both the ones named, and the ones overlooked. This year, the feeling of anger and despair wasn't prompted by a single missing film—like Hoop Dreams or Crumb in years past—but by the exclusion of a whole group of films, many of which pushed creative and stylistic boundaries or marked the arrival of a major new talent.
Instead of recognizing even a few of these films, the Academy—following the lead of the International Documentary Association, which had announced its finalists just days before—ignored them all, including such widely acclaimed films as Manda Bala (Send a Bullet), King of Kong: A Fistful of Quarters, Billy the Kid, Protagonist, Manufactured Landscapes, In the Shadow of the Moon, The Devil Came on Horseback, We Are Together, Deep Water, and My Kid Could Paint That, among others.
That's not to say that every film on the shortlist is an outrage. At least a handful are completely deserving, led by Alex Gibney's Taxi to the Dark Side, which won Best Documentary at Tribeca this year and is the only one of the year's major festival juried winners to appear on the shortlist. But none of the dozen or so documentaries I personally believe are truly the cream of 2007 made it to the shortlist. Not one. Full disclosure: My own film, Kurt Cobain About a Son, qualified this year under the Academy's rules. We were not shortlisted. You’d be excused for viewing this commentary as a reaction to personal rejection, though I will say that I always thought the odds ran against us, considering the Academy's historical reluctance to recognize documentaries about popular music figures—or biographical films in general. But if you still think this is a case of sour grapes, I can accept that.
However, my reaction to the Academy's choices stemmed not from my feelings about my own film, but from what the list revealed about how the Academy sees this particular moment in documentary history. We find ourselves at a crossroads, in the midst of a new wave of nonfiction filmmaking in which filmmakers are utilizing craft and filmmaking tools in new, exciting, and sometimes experimental ways. The old rulebook, which treats nonfiction as some specialized offshoot of journalism, has been thrown out. It's an incredibly exciting time to be working within the genre.
Why worry, you might ask. Indeed, why should any serious artist be concerned with the whims of organizations which have proven over time to be more interested in recognizing the best cause than the best filmmaking? An email I received recently from a top commissioning editor offers an answer: "The Academy provides about the only benchmark by which the public can judge documentary film." The editor went on to note how difficult it is to explain to non-documentary friends that the genre encompasses more than just the "cut-and-paste archive film"—that it can also mean stories told in creative, inventive ways.
And high-profile organizations like the Academy and the IDA aren’t the only ones taking such a narrow view of nonfiction filmmaking. At a seminar on criticism of nonfiction films last week at the International Documentary Festival in Amsterdam, longtime critic John Anderson asked, "If there were a documentary that cured cancer, would you as a critic turn round and say, 'Well, it may cure cancer, but I don't like the cinematography, it's too long, and it has no theatrical potential?' Are you then doing a good job?" Leaving aside the improbability of such a scenario, what resulted was a group of international film critics all pondering whether one should criticize filmmaking skill if it meant the risk of "damaging the worthy message you agree with." Once again, topic trumps filmmaking. We need critics to dig deep within themselves and write about films from the perspective of their filmmaking, without such singleminded focus on the worthiness of their subjects. We need critics who can describe the art of creating nonfiction instead of just writing summaries of the events that transpire in the documentaries they review. We need a movement of filmmakers, producers, commissioners, and others from within the documentary community to take a stand for craft, to launch a campaign for craft, to set aside tired notions of righteous causes. While the social justice tradition always has, always will, and always should exist in documentary, many of us view nonfiction filmmaking as more than a teaching tool—we see it as something that can be entertaining, something that can be artistic, something that can push stylistic boundaries, something that can reveal the human condition in unexpected ways, and something that can rival narrative as a filmgoing experience. The future of nonfiction is to stand on the side of artists. And that future is now.
AJ Schnack is a filmmaker and writer living in Los Angeles. His nonfiction work includes Kurt Cobain About A Son and Gigantic (A Tale of Two Johns), and he writes All These Wonderful Things, a blog primarily devoted to news and issues in the nonfiction community.
Wednesday, December 5, 2007
The distributor of the Video Tape of BREATHING LESSONS is Fanlight Productions in Boston.
Mark O'Brien, poet, journalist and inspirational voice in the movement of disabled people to lead independent lives, died early Sunday morning, July 3, in his home in Berkeley, Calif. Mr. O'Brien was 49 years old.
Born in Boston and raised in Sacramento, Calif., O'Brien was six years old when he contracted polio which left him paralyzed from the neck down. At the time of his death, he was one of some 100 polio survivors in the United States who still used an iron lung to breathe.
The 1997 Academy Award-winning documentary, "Breathing Lessons," directed by Jessica Yu, described O'Brien's long struggle to escape hospitalization and his often comic determination to live on his own and work as a writer.
In 1978 O'Brien moved from Fairmont State Hospital to Berkeley, after being accepted as a freshman at the University of California. He became a familiar figure on the streets of Berkeley, navigating his motorized guerney between the campus and his tiny apartment which housed his iron lung.
O'Brien received his BA in English literature in 1982 with the support of note takers, home health-care attendants and the then-fledgling Center for Independent Living.
After repeated efforts, O'Brien gained admission to UC's Graduate School of Journalism, helping to set a precedent for severely disabled applicants to state universities. Although a serious health setback prevented him from pursuing his graduate degree, O'Brien began his career as a journalist with the publication of an essay on what leading an independent life means in Co-Evolution Quarterly in 1979.
Initially, he composed his pieces by dictation, then he learned how to type with a mouth stick, first on an electric typewriter, later on a word processor.
His first collection of poems, "Breathing", was published by Little Dog Press in 1990. O'Brien considered it one of his proudest accomplishments. He completed two later volumes of poetry -- "The Man in the Iron Lung" (1997) and "Love and Baseball" (1998), both published by Lemonade Factory, an independent small press he co-founded in Berkeley with Susan Fernbach.
At the time of his death, O'Brien was completing an autobiography.
A long-time editor of Pacific News Service, O'Brien published essays, book reviews, news stories for the San Francisco Chronicle, the Examiner, and the National Catholic Reporter. He wrote about sports, religion (he was an ardent opponent of euthanasia), his life-changing two hour session with a sex therapist, his experience with Steven Hawking, and the culture and politics of being disabled. (In one piece he writes about coping with the fleas from an alley cat that shared his one-room apartment for many years.)
His twin passions, according to film-maker Jessica Yu, were baseball (specifically the San Francisco Giants), which gave him entree to the sports culture of his peers, and Shakespeare. O'Brien delivered the 1998 commencement address to graduates of Berkeley's English Department.
As an advocate of the "independent living" movement, O'Brien emphasized the universal need for human beings to have a measure of control over their own lives. "I want people to think of disability as a social problem...Everyone becomes disabled unless they die first."
O'Brien spoke candidly on film of his struggle to overcome loneliness. "You can't make someone love you -- you have to be lovable yourself," he said, adding that he wasn't convinced he knew how to do that.
By the late 1990's, O'Brien's failing health restricted him to the iron lung for all but a few hours of the week. But he continued a correspondence through Email and regular postings on The Well with a world-wide circle of friends and admirers.
It was his sense of longing that connected him so powerfully with others, said PNS executive editor Sandy Close. "He demanded and expected very little, and maintained a sense of wonder about everything good that came to him."
In "Breathing Lessons," O'Brien acknowledged his gratitude to his parents, Helen and Walter O'Brien, for the care and love they gave him. He remained at home until he was 27.
"His Catholic faith -- a portrait of the Virgin of Guadalupe hung always within sight -- sharpened his humor and left visitors wondering who was crippled, Mark or themselves," said Close.
"Disability causes me to believe more strongly in a duality between body and spirit," he said in "Breathing Lessons," "...cause if I'm a soul, I'm just as good as you. And if I'm a body, then I'm up shit creek, ain't I?"
In addition to his father, Mark O'Brien is survived by a brother, Ken, a sister-in-law, Karen, of Granite Bay; a sister and niece Rachel and Alicia Jordan of Colfax, Ca.; and his collaborator Susan Fernbach and his attendant Bruce Ward.
A funeral mass will be celebrated on Saturday, July 10, at 2 pm at Newman Hall, 2700 Dwight Way, Berkeley, Ca. O'Brien's family and friends have established a scholarship fund at UC Berkeley's English Department for disabled students of literature.
It is Fine (co-directed by David Brothers) is Glover's second trip behind the camera since 2005, when his debut What is It? confronted viewers with radically cryptic narrative and a range of disabled actors. His follow-up pushes the envelope even further, consisting primarily of the horrendous psycho-sexual fantasies of its late star and writer Steven C. Stewart -- a man severely afflicted by cerebral palsy.
Tuesday, December 4, 2007
By Denise Grollmus Published: November 14, 2007
Photos by AndreW McAllister
"I found myself as much in awe of the landscapes he chose as the words he wrote," says McAllister.
For most people who drove by, it was nothing more than another abandoned Akron building with a bit of misspelled graffiti scrawled across the side. "Go Vegitarian. The Better Way, Truly!" announced the bright red letters.
But to Andrew McAllister, it was something special. This wasn't just another tagger. Despite the misspelling, the message — juxtaposed with a McDonald's billboard — had been carefully written, as though the author were a second-grader practicing his best penmanship. "The language was so playful and poetic," McAllister says. "And the simple handwriting and choice of color made it so generic, which is the opposite of what most graffiti artists try to achieve."
McAllister knew it wasn't just some dumb kid with a penchant for mischief. This person was trying to say something about himself and the world around him. If graffiti ever had its own version of an outside artist, this was it. And McAllister wanted to know who he was.
A professional photographer, McAllister had always appreciated Akron's crumbling landscape. He'd lug his camera around town, shooting his subjects, from rock bands to artists, against the city's grittier backgrounds, often just out of view of the main drags.
That's how he came to see the pattern of cryptic messages, always written in the same hand and sometimes scrawled in the playful stanzas of an e.e. cummings poem.
"Untended Wild — Natural = Unreal Waste," shouted a building adjacent to the Akron Art Museum.
"Hypocrits Hell" was accompanied by an arrow pointing at St. Vincent's Church.
"Taskmaster (so called) Police/Mankind does not like/Any of you! Hates you/All that goes with you," angrily announced a concrete wall lining a once-overgrown field that had been recently trimmed.
"After I found four, I thought, 'What the hell,'" McAllister says. "I started photographing every one I could find."
For the next five years, he spent weekends in search of the graffiti by the man McAllister would come to regard only as "the unknown writer." He eventually uncovered more than 40 pieces.
But they weren't easy to find. McAllister had to think like his phantasmal friend. "I created a mental map of the places I'd found his stuff in," McAllister says. "It was weird too, because they were always just off of main roads or intersections, just slightly hidden from plain sight, and they were always on buildings in questionable shape. I just developed an eye and a sense for this stuff."
McAllister's scavenger hunt took him to places few in Akron had ever seen — beneath bridges, along railways, into dumps obscured by woods, down narrow alleyways. It was always an eerie feeling to stand alone in these desolate spots, trailing this ghost. "I found myself as much in awe of the landscapes he chose as the words he wrote," McAllister says. "He has a real knack for picking places where his stuff will never be painted over, like train cars just sitting in the middle of the woods."
Most of the messages were poetic ponderings about nature and the human spirit, from "Beasts Don't Have Ponder! Word(s) They Are The Truly Innocent" to "Persons are not God." But some took a disturbingly misogynistic turn, referring to women as witches, bitches, or "WBitches." "Witches Are/Witches there/All the Same,/Bitches," the artist wrote.
"It kind of started to freak me out," McAllister says. "At first, I thought this must be some sort of literate anarchist type. Then I thought maybe it's just some madman off his meds."
Soon, McAllister found himself obsessing over the unknown writer's identity. Everyone in Akron became a suspect — from the dishwasher at his favorite diner to the loner at the bar just before happy hour. "I figured it had to be a man, he had to be literate, and he had to hate women," McAllister says. "I had a few hunches, but none of them ever came to fruition."
He decided to hold an art show, hoping to draw out his subject. He displayed around 20 of his best photos — a sojourn into the heart of darkness, not only of the unknown writer, but of Akron. Still, no one came forth to take credit for the massive body of work. "I was hoping that maybe it would encourage him to write a message just for me," McAllister says.
After a while, the unknown writer's productivity began to slow. McAllister suspects he moved to another city. "There were always periods when he'd just disappear," McAllister says.
But he did inspire a slew of copycats. "I found one in downtown that says, 'Industry is a weapon in many ways,'" McAllister says. "It's just stupid. I know that he'd never write something that juvenile and in such plain sight."
On a windy November day, McAllister climbs beneath a bridge near the Towpath Trail. Along the walls, the unknown writer has left three messages. McAllister reads them aloud as if he's reciting Robert Frost.
As he begins to snap pictures, you get a creepy sense of the unknown writer's presence. You try to create an image of a real man in your mind, but it's fuzzy and intangible. "I'd be disappointed to find out who he is now," McAllister says. "It's more fun not to know."
Edison Manufacturing Company production; distributed by Edison Manufacturing Company. / Cinematography by Edwin S. Porter. / © 16 February 1904 by [?] Thomas A. Edison or Edison Manufacturing Company? [H42209]. / Standard 35mm spherical 1.37:1 format. / The production was shot on 12 February 1904. 30 (16mm) feet.
Survival Status: Print exists in the Library of Congress film archive (paper print collection) [35mm paper positive].
Monday, December 3, 2007
The Status Project
In this exhibition, the artist will present 5 maps of the system, one of which will be custom made for the Nottingham psychogeographic walk. His newly authored Status Manual, containing diagrams of the system, will also be on display during the exhibiton.
The opening will take place on Wednesday 28th Nov at 6pm in Room 1 at Broadway.
"Aquabatics" literally translates ‘walking with water’.
In 2002, I set out to critique the evolutionary technicity of human beings by developing the practice of Aquabatics underwater. Aquabatics is the term I use to describe the research between contemporary performance praxis, commercial diving operation and life support protocol. Aquabatics explores the psychological states, physical conditions and ideas that have grown out of an experimental process of inhabiting an aqueous environment – literally and metaphorically. Such a practice enables discussions of being, life and the critical climate in the way that it inspires correlations between/across various systems of our Universe. Aquabatics research is a unique, unconventional and innovative practice that draws on many histories and newly combined disciplines to propose a new aqueous philosophy. Development of the practice included trans-disciplinary documentation on the changes of my cognitive awareness, the aesthetics of care surrounding the practice, the spiritual journey and proprioceptive responses of the body underwater as a live(d) practice-as-research challenge. Commitment to this strategy enabled me to psychometrically profile and map new territories in human performance behaviours and limits in extreme environments as new works of live art. Inadvertently, Aquabatics proposed new aqueous philosophy to situate the human body in/of/as a body of water. (Pell, 2005)