»Seed of Worms« (demos unreleased “trail” feature) is a video made with »Whorld« software. Whorld is a free, open-source visualizer for sacred geometry. By Chris Korda.
Family album images of demonstrations by Church of Euthanasia and Chris Korda.
»Screen Burn (please wait)«, 2005. Steven Read wrote a software program in Apple II Integer Basic that displays an image on the monitor’s screen. Then he ran the program continuously for about 6 months. The software image was eventually burned into the screen because the internal phosphor compounds which emit light lost their luminosity and left behind a ghostly trace. The ‘please wait’ text is actually an image which took over 1000 lines of software code to create. The old Apple II operating systems (DOS 3.x, ProDOS, etc.) did not come with any font facilities, if you wanted a font you had to code it from scratch.
»Two Keystoned Projectors (one upside down)« (2007) and
»Panasonic TH42PV60 Plasma Screen Burn« (2007) by Cory Arcangel at Galerie Guy Bärtschi.
»A/S/L (Age/Sex/Location)«, 2003 (3-screen video & sound installation, with images, text and transcripts of a simulated chat room conversation) by Raqs Media Collective.
»Stygian Eye« comprises a clear plastic ball, a compact disc and an LCD screen taken from a handheld TV. As the viewer approaches the object and peers into the ball, video showing an animation of a scientific study of a flying horse glows from the below screen. By Andrew Cooke and C505.
»Smells Like Teen Spirit« and »Thriller« from the series »Greatest Music Videos of All Time«. MTV compiled a millenium list of top 10 greatest music videos, all of the videos from the list were digitized in their entirety and the individual frames were simplified to their mean average color, eliminating overt content. These solid-colored squares were then arranged in their original sequence and are read left-to-right, top-to-bottom. By Jason Salavon.
In the installation »Infinite Loop« (2004) a camera is rotated on its side and pointed into a television at close proximity. The camera feeds the image of pixels on the screen back into the TV’s audio and video inputs. The auto focus and auto exposure struggle to gain some coherence expected in an image, but cannot. The result is a fluctuating, oscillating signal.
In »Thaw« (2004) an empty swimming pool, a large mass of black, volcanic, basalt street bricks is interlaced with bricks of white ice. The cube will fall prey to entropy over the course of approximately 8 hours. The ice bricks fuse together and hold on to the bricks as long as possible, causing the structure to warp and sway pendulously before collapse. The brick cube rests on a steel table and hovers over a mirror, which floats above the floor. The mirror has microphones attached to it, which pick up the stochastic dripping of water and is amplified in the space, counting off the time between collapses. Both projects by Chris Musgrave.
The »Media Pack Board« by Valerie LeBlanc and Daniel Dugas is used for interactive performances and public screenings.
»Installation Shot« consists of two almost pitch black rooms, side by side. Two ‘participants’ are invited to wear a helmet each geared up with infrared ccd camera, transmitter and small monitor. Vision is switched between the two viewers in a minimal space only containing black board and mirror arranged in identical mirrored states. The initial effect is that of dissorientation followed by a convergence with the others perceptual space. By Derek Ogbourne.
“Photoshop Performance” by Oskar Dawicki,
“LEGO Concentration Camp Series” by Zbigniew Libera,
“Map Trap” by Wilhelm Sasnal and
“Faith in Means of Transport” by Zbigniew Rogalski. All: Raster.
“Terrain”, a large matrix of 225 electro-mechanical actuators conform a projection surface to match a 3d image/dataset in real-time. Video.
Train is a hyper-narrative that takes place on the physical layout of an HO scale model railroad. Controlled via cell phones, viewers guide the trains around the track, picking up passengers along the way. Video. Works by John Klima.
»Flow Motion« is like a continuously changing painting, generated from a collection of 110 digital still images.
»Newtron« consists of a single modular unit from a large outdoor LED video display, like those normally seen in big sport and entertainment venues. It shows only the corresponding fragment of the image that would be displaying on the whole screen. Both projects by João Paulo Feliciano.
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