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Contour Ploughing refers to the farming practice of plowing or planting perpendicular lines across a slope, following its contours to minimize erosion. From afar these ruts coalesce to form sprawling topographical designs across landscape, echoed in the computational patterns constituting LoVid’s composition.
"Contribution to Light is all about my excitement and thrill at seeing reflected and refracted light. I shot the edges of pieces of found broken glass that streamed light rays broken into myriad colors. I saw, years later, a shared aesthetic in Stan Brakhage’s study of a crystal ashtray." — Barbara Hammer
In these three exercises, Acconci plays with trans-gender illusions, manipulating and altering his own body parts to suggest sexual transformations. For example, he burns the hair from his chest with a candle, then attempts to create the illusion of having female breasts.
Cooking with the Erotic plays off of Audre Lorde’s seminal speech “The Uses of the Erotic: The Erotic as Power” (1978) as a point of departure for an imaginary cooking show starring Harris-Babou and her mother. Framing visceral, messy, food scenes with studio lighting and HD video, the work asks questions about the relationship between intimacy and consumption.
General Idea's mock documentary comprises a constellation of images and iconography that construct an "archaeology" of media and culture via a fictional museum. Cornucopia interrogates the process by which objects become history, are preserved or left in ruin, and the architectures of the private and public domains. The "documentary" acts as a kind of time capsule, and the "cornucopia" strips meaning and produces objects, abstracting the familiar and immortalizing it within the museum space.
A snapshot of popular culture in the early aughts, Coven Services mixes vignettes of Bag in multiple guises—a spokeswoman for Haliburton, Chase Bank, AOL Time Warner, Bechtel Corporation and other brands—with footage from Paris Hilton's infamous sex tape. In this disparaging look at the daily consumption of tangible and intangible products in a service economy, Bag brings the same pained smile to her promotions of laundry detergent, debit cards and the war in Iraq.
Donegan eats her way layer by iconic layer through a white bread and KRAFT American Cheese sandwich — crafting hearts, stars, faces and bunnies as she goes. Through a strategic use of close-ups and an aggressive rock n'roll soundtrack, Donegan ironically probes the auto-eroticism inherent in the...
"In 1998, twenty years after production began on William Friedkin’s 1980 notorious, gay leather underground crime thriller, Cruising, I reversed it scene by scene. The 'from behind' approach was suggested by the logic of the film itself. The narrative dissonance of the original film is amplified in Back to Front, the antinomy of law and desire patent. Moving in reverse, cause cruises outcome, with often queer effects." — Robert Buck
Atlas records a late-2000's revival performance of the 1993 dance CRWDSPCR, which Merce Cunningham choreographed using the choreographic software program LifeForms. In program notes to a performance of the dance, Cunningham suggested that the vowel-less title referred to the way in which technology both crowded space and quickened the pace of daily life. The project merges Cunninham's vision of a decentered organization of the stage with Atlas' use of the computer as a conceptual extension of chance-generated decision-making.
"Cycles of 3s and 7s is a doubled statement. First and foremost, it is a commentary on computer art and the role of computers in video. Secondly, its arithmetic project has some bearing on the construction of musical scales. In reclaiming the computer as a performance instrument, I intended that the human operator must compete directly with the computer, doing what the computer does best. The selection of a simple hand calculator was a deliberate denial of the computer aesth/ethic of bigger, faster: computer art must be doable within even the most modest architecture. Cycles of 3s and 7s shows that it is not the answer that 'counts,' but the pleasure in getting there. Simple rote calculation is turned into rhythm and song; accuracy of gesture and count become a game. These are 'stories' about numbers, the kind machines should like to hear and tell—if they 'liked.' The 'stories' here are calculated approximations to 1, each having the form
In musical theory, the prime numbers 3, 7, and p are harmonics, and a just-intonation interval scale with equal steps requires approximations of this form. For instance, our twelve-tone scale depends upon the approximation"i j -k p x 3 x 7 x 2
—Tony Conrad12 -19 3 x 2 = 1.0136
