skye

thorns

come on come on come on come on

come on come on come on come on

SKYE

decimus burton

a summer house

picturos

those are some photos of my last investigation. i shone light through a plastic bit i found on the floor and it made some pretty surprising and uncontrived spectacles. it was far better than i imagined because it was an accident, or at least an experiment. thank you to whoever made light

peter gidal

"Demystified reaction by the viewer to a demystified situation; a cut in space and an interruption of duration, through (obvious) jumpcut editing within a strictly defined space. Manipulation of response and awareness thereof: through repetition and duration of image. Film situation as structured, as recorrective mechanism" (Notes from 1969). -P.G.

HALL

Peter Gidal
1968/9 
10mins B/W 16mm

stills from hall

Vasulka

decay.

woody and steina vasulka

In their early collaborative work, the Vasulkas examined the electronic nature of video and sound, developing specialized imaging tools and strategies while also using the medium to document the city's expanding underground culture. "We were interested in certain decadent aspects of America, the phenomena of the time—underground rock and roll, homosexual theater, and the rest of the illegitimate culture. In the same way, we were curious about more puritanical concepts of art inspired by [Marshall] McLuhan and Buckminster Fuller. It seemed a strange and unified front—against the establishment." In 1971, with Andreas Mannik, the Vasulkas founded The Kitchen as a media arts theater. In the same year, Steina and Woody organized A Special Videotape Showat the Whitney Museum and established the first annual video festival at The Kitchen. Working with skillful and innovative engineers, the Vasulkas invented and modified video production instruments for use in performances and installations as well as single-channel tapes. They were among the first wave of artists to participate in the residency programs offered through the public television labs. Steina has explored the use of sound in creating and altering video signals (Violin Power, 1969-78) and the orchestration of video in an installation context. In 1975, while teaching at the Center for Media Study in Buffalo, NY, she began Machine Vision, a "continuing investigation of space via machine systems and electronic images."

The B as A S OF C R

I accidentally ignored my blog throughout the b as a s of c r, so from now on i will be more diligent in my posting and publishing... i've put up some photos i took of my pieces after the project, i realized the images took on a different meaning after the project, with the manipulation of the material previously representing my own futile attempt at using the body as a canvas, now they look different, incorporating the space into the material. due to the photos being taken from inside the 'body'

The body as a site of cultural representation