|Time Forms Participants List|
|· Amy Alexander/UCSD Visual Arts Faculty, CRCA researcher|
"b0timati0n" is a live Internet/metaspace performance that takes text results from an Internet search engine "bot" and displays it in a continuously animating pattern. Something of a search-engine-gone-light-show, the text is interactively "conducted" by an Übergeek performer armed with geek toys including an air mouse and a post-Stelarcian Mattel power glove. Web text become3s cool! - With all the hipness of a designer pocket protector . . . A humourous look at the merging and hype of geekness and cool in contemporary culture.
|· Jason Bader/UCLA|
"THE HUB "
|· William Carey/CalArts|
What if the day were divided into 100 hours instead of twenty-four? And what if each of those hours were divided into 1,000 seconds? The resulting basic unit of this "metric" time system would be 17.5% shorter than the "standard" second by which we pace our busy daily lives. Would music, in general, be played faster? Would TV shows be shorter? Would people walk faster?
Dies Centi, which is one metric hour (1/100 of a day) long, is essentially two versions of the same piece played simultaneously. The form of one version is based on our standard time system and features tones which beat once per "regular" second, and the form of the second version is based on the metric time system with tones heard once every metric second. When played simultaneously, the two pulses form a complex polyrhythm which lines up every 108 standard seconds. These points of coincidence are used as major structural points in each of the two forms, giving the overall piece a sense of cohesion despite the disparity between the metric and standard rhythms.
|· Harry Castle/UCSD Music, CRCA Researcher|
|· Clay Chaplin, CalArts|
Performing an audio visual collage that is structured around the idea
of instant replay or time displacement using a live camera input from
within the space. Micro time events ( from the last five minutes or a
minute ago rehashed/replayed/altered) juxtaposed with more macro time
events already found in the space.(sun rise/ sun set).
|· Nathaniel Clark/UCSD Visual Arts|
STORM -- Sonic Transformations Of Real-time
|· Brian Goeltzenleuchter/UCSD Visual Arts|
"Mortal Culture: Venus Birdfeeder"
|· Sean Griffin/UCSD Music, CRCA Researcher|
Basic description: A woman in housedress performs an extended, complex, choreographed, formal, sonic and gestural deconstruction of the game pattycake.
Pattycake explores a post-structural and minimalist deconstruction of the child‚s game pattycake. By separating and isolating simple gestures and sonic elements of the game over the course of 45 minutes this projection reveals the marking of periodic time both microscopically by the isolated gestures and sounds, and macroscopically by the separation of these gestures into fields of discrete activity. In this actor‚s portrayal of this rhythmic game, perception is shifted from the simplicity of the game to the durative structure of the piece. The dramaturgy of the piece explores the redundancy of the domestic child-rearing space and rote teaching in the context of formalist art. Inspired by a nostalgia for the short formative video works of the likes of Martha Rosler and Adrian Piper, this piece expands the reading of domestic structures into an extended time frame rendering blank the meaning of our most simple games and expanding our notions of home camera monitoring.
|· Nicholas Hennies, Greg Stuart, Bill Boyer and Don
|"metal, stone, skin, foliage, air" -
Metal, Stone, Skin, Foliage, Air is a composition for percussion quartet by the Swiss composer Jürg Frey and was composed over the years between 1996 and 2001. Frey is one of the most famous and active members of the new music community in Switzerland, working as a composer, clarinetist, and organizer of the concert series Moments Musicaux. In April of 2002 Mr. Frey will be in residence at the California Institute of the Arts and he has agreed to visit UCSD on the weekend of April 20th for the world premiere performance of his percussion quartet. The performance will be given by UCSD graduate students Nicholas Hennies, Greg Stuart, and Bill Boyer as well as percussionist Don Nichols in the Visual Arts Performance Space across from CRCA. It is a happy coincidence that the Time Forms event is on the same day that we had planned to premiere his percussion quartet, as the piece is directly related to the theme of Time Forms.
Almost all of Frey's music is concerned with the passage of time and how sound and music operates within space and time. Metal, Stone, Skin, Foliage, Air is 67 minutes in length; the players are unison for almost the entire piece. They move together from one sound world to another; from one type of material (metal, stone, skin, foliage, and air) to another. Michael Pisaro has said that Frey's music almost always begins with two as a kind of music concept:
"A piece begins with something - some group of similar sounds, or some manner of performance; and then, without warning, reason, or justification, simply changes to something else. It does not matter that this might happen several times in a piece. No matter how many times it occurs, it always, in the moment in which it happens, means 'two'. It breaks off a composite past (a succession of moments which, in retrospect, become part of a single stream) from an uncertain future."
In short, Metal, Stone, Skin, Foliage, Air is a major work in the artistic development of this fascinating composer and is also a landmark piece within the repertoire of music for small percussion ensemble.
Again, Nicholas Hennies, Greg Stuart, Bill Boyer, and Don Nichols will perform the piece. Mr. Frey and Michael Pisaro will also be present for the performance.
|· Carol Hobson/CRCA Admin. Director, UC DARNet Manager|
|"Cycles of Energy"|
"Cycles of Energy" is a video installation based on the Chinese healing approach of working with organ energy flows through the body's meridians. Within this holistic dogma there are twelve organ flows that begin at 4:00 a.m. and continue through 24 hours. Each organ has energy flowing through its entire meridian for a 2-hr. period in every day. The energy cycle moves from the superficial level to the deepest levelsof the body, returning to the main central flow and begins again at 4:00 a.m. in the lung meridian.
|· Matt Hope//UCSD Visual Arts and Jonathan Phillips/UCSD Visual Arts, CRCA Researcher, Cal(IT)2 New Media Arts Fellow|
|· Shane Hope/UCSD Visual Arts, CRCA/UC DARNet researcher|
|· Jeffrey Perkins/NYC|
Audio piece presenting recorded interviews while working as a New York
city taxi driver.
|· [mama], a Net Culture Club in Zagreb, Croatia|
|DJ mix and sunrise stream|
|· Dan Martinico, UCSD Visual Arts|
|· Jordan Mena and Vincent Tarango/UCSB Media Art and
|· Lisa Moren/Imaging and Digital Arts with Carol
Hess/Dance and Tim Nohe and Sara Seeley, University of Maryland Baltimore
County, and Clay Chaplin/CalArts|
|· Kazushi Mukaiyama/Kobe, Japan|
|· Jonat8han Snipes/UCLA Hypermedia Studio|
"non-destructive time editing"
|· Naomi Spellman/UCSD Visual Arts Lecturer and CalArts faculty|
"Right as Rain"
|· UCLA Design | Media Arts seminar: Kimberly Hager,
Namrata Mohanty, Meghan Newel, Dolores Rivera, Adriana de Silva, Ashok
Sukumararn and Fabian Winkler; Victoria Vesna, Chair and UC DARNet member
|· Rob Wannamaker/UCSD Music|
|"Phase Diagram" (2000; ~17 min)|
"Phase Diagram" for contact microphones and turntable. The piece is in three sections, each of which differently exploits the clattering of homemade contact microphone elements against the moving surface of a phonograph turntable. Among other things, the piece explores the low frequency limit of auditory pitch perception where timinginformation gives way to tonal sensations (i.e., at which repetition becomespitch and phasing becomes beating).
|· Yuriko Watanabe/UCSD Music|
|An Experimental Confession: Dialogic Space and Time for
Music, visual arts and letters which I encounter in my everyday life awaken my memory of the past. Trivial fragments of the pieces stimulate my nostalgic feelings of the past, however, this nostalgic emotions can not be maintained for a long time, various kinds of sound such as machinery noise, dialogues among my unknown people undermine my concentration on the spiritual experiences gained through the fragmented artistic objects. During this process, I attempt to give myself a different direction which enables me to retrieve my imaginative sphere. Until I meet with this ideal sphere, I experience several kinds of "Others," which might be mysteriously positioned in my inner parts. My encounter with various "Others" is achieved through the physicalization of the fragments into my own body.
Here I raise a question. How long do I keep this freedom after assimilating "Others" into my self-hood which has been continuously constructed and deconstructed in the flowing time? In addition, How can I measure the quick process of transforming fragmented "Others"? How long can I endure the frequent facing "Others" to attain my ideal state? Do the repeatedly emerging "Others" invoke dreadful trauma which would be deeply inscribed on my body?
In this experimental project, I seek for the imaginative utopia and freedom brought from my incessant transformations within the extent of the maximum time (which will not weaken my concentration) This travel for dreamy and utopian sphere is shown through the dialogic narratives between my inner self and outside "Others" in a theatrical manner with various artistic elements such as the representation of my experiencing music, visual objects(paintings, drawings and paintings through the overhead projector) and letters in published readings.Additionally, I intermittently present an improvisatory piano performance which might help me to escape from multiplicity as a result of communications through the dialogic expressions as well as the newly develop communicative pattern and time framework.
|· Ruth West/UCLA Design Arts|
|Project #1 Title: "Stars" ==> link|
Medium: Interactive sound installation
Dimensions: 18" x 18" x 40"
Concept: "Stars" is an interactive sound installation that transforms astronomical data, in the form of full hemisphere maps of the night sky at midnight printed on to 12" vinyl LPs, into unique yet repetitive tonal patterns. This unlikely rendition of the "Music of the Spheres" is a synthesis suggestive of both radio astronomy recordings and the nostalgic experience of listening to music on a worn vinyl LP. The strange, yetsomehow familiar, music mediates the relationship of the astronomical data to the history of its production through the content of the LPs, encodes a specific time in each stellar maps (latitude, longitude at midnight), and evokes the cosmological nature of time. Each LP represents one of several women members of the Harvard College Observatory, collectively known as "The Harvard Computers." Working between 1886 and the 1940's, this little known group of women astronomers is responsible for the development of schema for indexing and classifying stars by their spectra and for generating voluminous catalogs of stellar data. Their work forms the basis for the majority of the stellar maps in use today, and is the foundation for the maps used to generate the LP disks for the installation.The disks represent some of the more famous women astronomers of the 19th and 20th Century, Annie Jump Cannon, Williamina Fleming, Margaret Harwood, and Antonia Maury who were part of the group. The absence of disks for the other members of the group is reflective of the then prevailing social attitudes towards women in science which resulted in many of them falling away into obscurity despite the significance of their contribution. This historical referent is only subtly visually evident. It is coded in the label for each LP, which consists of an emblematic stellar spectrum, the name of one of the women, their date of birth, or death, and the location, expressed as latitude and longitude. It is also encoded in the sound compositions, which seem whimsical and nostalgic, yet are the transcoding of the lives of these women through the data they generated in to their own unique sound.
Description: One of several 12" vinyl disks, reminiscent of an old LP, containing the images of stars in the night sky, is placed upon a slowly rotating turntable platter. As the sensor arm reads the unique dot pattern on the disk surface, it is simultaneously transformed in to a sound composition. The moveable sensor arm allows for disks to be interchanged. The dot patterns on each disk are generated from astronomical map data showing the position and relative luminance of stars. They correspond to the full hemisphere night sky for a specific date, latitude, and longitude, at midnight. The dates and locations used to create the disks represent the birth or death of several of the women members of the Harvard College Observatory, collectively known as "The Harvard Computers."
Technical: The "Stars" installation comprises a slowly rotating turntable, a movable sensor arm, an EZI/O interface board, a Macintosh computer and two speakers. One of a number of 12" vinyl disks can be placed onto the platter, and the sensing arm, which is held 1/8th of an inch above, reads the unique pattern of white dots. The sensing arm itself consists of an aligned array of eight LED-Phototransistor pairs. Each pair measures the amount of incident light on the phototransistor, as reflected by the dots on the disk moving underneath. The output of each circuit is represented as a varying voltage, which is fed into the EZI/O's analogue to digital converter.The EZI/O is connected to the Macintosh via a simple serial connection, allowing the computer to process the sensors' readings as 8-bit values. These values are used to generate sound. Processing is achieved using the Lingo programming language in Macromedia Director v. 8.5.
Duration: The installation can run continuously, or for a shorter period.
· Ruth West - Project #2
|· Pei Xiang/UCSD Music, CRCA researcher, |
Cal(IT)2 New Media Arts Fellow
|"The Pendulum" (for video and spatialized
Overview: Time flows like the endless motion of the pendulum -- steady, stable and providing you a sense of peace and unlimited space. Upon this theme, "The Pendulum" attempts to create a balance between video and spacialized sound, where the termination of image is going to continue in the audio space, and visa versa.