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Without a fixed physical or temporal locus, Aspect Magazine maximizes the fluidity of its ephemeral site in Volume 6: On Location. Extending from the momentary to the monumental, terrestrial to celestial, micro to macro, and personal to cultural, this issue explores the vast concept of location. Where beyond the genre of new media art could so many different interpretations of location exist? And where besides the time-based Aspect Magazine could they be brought together so cohesively? We hope you enjoy this diverse collection of works in relation to location as much as we have enjoyed assembling them.
Included in this issue:
KENSETH ARMSTEAD: in_authentic_b (an invisible cities excerpt)
with audio commentary by Andrew Perchuk
C5: The C5 Landscape Initiative
with audio commentary by Christiane Paul
RICHARD CLAR: COLLISION II
with audio commentary by Jean-Luc Soret
SHELLEY ESHKAR AND PAUL KAISER: Pedestrian
with audio commentary by George Fifield
PETE GOMES: Stedelijk Drawing
with audio commentary by Jelle Bouwhuis
MTAA (M.RIVER & T.WHID ART ASSOCIATES): 1 Year Performance Video (aka samHsiehUpdate)
with audio commentary by Marisa Olson
DOUGLAS WEATHERSBY: GSG Office Project
with audio commentary by James Hull
| Catalog Number: MC-490 |
Type: Shorts Compilation |
Genre: New Media, Modern Culture |
| Copyright: 2005 |
Length: 110 minutes |
Format:
DVD Region: 0 (All) |
| TV System: NTSC |
ISBN: 0-9749657-3-1 |
UPC: 837101115414 |
| Label: |
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Exhibition:
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Films In Compilation
in_authentic_b directed by
Kenseth
Armstead
USA,
2003,
Color,
Magnetic Stereo,
00:05:04
in_authentic_b portrays the impossible journey back to Africa. The classic, almost rhetoric motif of the search for one´s own roots ends up as a football game on dry African soil. It’s a familiar global exchange in a space that effortlessly, for a moment, cuts across the distance of society, politics, and geography. The game transports the unassuming participants to a place of shared rules and boundaries. The video captures the accidental moment that creates the link. The artist is playing the game and simultaneously trying to keep his digital eye, the camera, on the ball as well. The abstraction in the space between the two goals is the slippery substance on which we build our impression of a cultural exchange.
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The C5 Landscape Initiative directed by
C5 Corporation
USA,
2005,
Color,
Magnetic Stereo,
00:08:45
The C5 Landscape Initiative, which has been under development since 2001, debuted at San Francisco Camerawork in May, 2005. During the initial three year development timeframe of the Landscape Initiative, expeditions were undertaken across the globe; as C5 summited Mt. Shasta and Mt. Fuji,traveled the length of the Great Wall of China, and undertook a 13,000 mile motorcycle journey around the continental United States. In conjunction with the SF Camerawork exhibition, the C5 GPS Media Player, was featured on the Whitney Museum’s Net art portal: Artport, for June/July 2005.
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Collision II directed by
Richard
Clar
USA,
2003,
Color,
Magnetic Stereo,
00:04:32
Since the early ‘90s, I have been intrigued by the problem of orbital debris in space. Upon learning that the U.S. Space Command tracks over 10,000 of these orbital debris objects, and that the orbits of each of these objects is known and predictable, I was fascinated by the idea of creating from this orbital debris, a site-specific artwork—in space—on a scale previously unheard of. Created in 2003, in collaboration with the Naval Research Laboratory (NRL) and French composer and Université de Paris-Sorbonne Professor, Marc Battier, COLLISION II is a dynamic orbital debris site-specific artwork currently in Sun-synchronous orbit at an altitude 450 to 900 kilometers above Earth. Reflecting further on this idea, I realized that there was also music in the motion of these orbital debris objects—relative both to one another and to the Earth. The Naval Research Laboratory, using a massively paralleled computer and tracking data from the U.S. Space Command, created the simulation that you now see. In the beginning of this video, the more than 10,000 orbital debris objects that now comprise the orbital debris catalog are precisely shown as they orbit the Earth. To create COLLISION II, I established certain parameters in the selection process that eliminated all but 192 orbital debris objects out of the 10,000-object catalog. These 192 objects—color coded by country of origin—are shown in the second part of this video simulation. Utilizing a spectacular 3-D holographic display, COLLISION II was first exhibited at the International @rt Outsiders festival 2003, Maison Européenne de la Photographie, Paris. Marc Battier composed the exciting music heard on this COLLISION II video, based in part on orbital debris data provided by the NRL.
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Pedestrian directed by
Shelley
Eshkar
USA,
2002,
Color,
Magnetic Stereo,
00:05:41
Pedestrian projects its imagery directly down onto a city sidewalk or the concrete floor of an art gallery. Conceived as a public sculpture, Pedestrian’s digital projection merges with the rough surface we walk upon. The tiny denizens we see down there wander through a trompe-l’oeil illusion, in a city that seems to float both upon and within that surface.
As we observe them, these figures congregate and disperse in an everyday but mysterious fashion: they stand, watch, start and stop, meet, sit, move away, sometimes run, or perhaps even lie down. They move with an uncanny accuracy, for their movements were sampled and abstracted from real people by means of a technical process called motion capture. Their actions are pedestrian; but on longer observation the patterns they form seem oddly coordinated, as if unfolding in a story or deriving from a set of unknown principles.
As digital models built purely in 3D geometry on the computer, the Pedestrian figures represent a cross-section of urban archetypes: the suits and backpackers, couriers and working girls, socialites and bench sitters, skaters and civil servants. The environment under their tiny feet is an abstract and simplified game-board of Manhattan, with strong contours and rhythmic subdivisions. These grids, tiles, and area boundaries echo and emboss the real physical pavestones hit by the projection. We the viewers with our tall dark bodies stand in for the buildings of Manhattan’s verticality.
The drama of Pedestrian is decidedly strange. For while it does have you following individual characters within a scene, it’s never for long – the camera veers off as if distracted to follow another character intersecting the scene, and then another, and another. This succession comes to seem like an odd and unwitting relay race or game, each figure taking and then passing on the baton of your interest. It’s a series of partial and broken narratives, whose beginnings and endings are left to you to imagine. But isn’t this much like your own experience in the street, where first one person arrests your attention, but then quickly passes from view (and mind) at your next striking but equally fleeting encounter?
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Stedelijk Drawing directed by
Pete
Gomes
USA,
2004,
Color,
Magnetic Stereo,
00:13:50
These works to date comprise a series of plan drawings using white chalk, which manifest, delineate or invent boundaries stemming from different forms of technological signals. I think of these as poetic actions, that resonate against on coming and developing ideas, in and around locative media, mobile computing and the future of our cities.
These temporary drawn manifestations of invisible electronic signals create navigation, boundaries, and in turn new territories, building layers of points and planes which are unmistakably architectural and stem from their urban setting. Using the satellite network, exact positions and times are plotted by drawing directly onto the ground, fixing elements in the urban environment, making this both the subject of, and the surface of the work.
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1 Year Performance Video (AKA SAMHSIEHUPDATE) directed by
MTAA
USA,
2004,
Color,
Magnetic Stereo,
00:09:13
We, M.River & T.Whid, ask that you view a 1 year performance video, to begin today. We shall seal images of ourselves in images of our studio, seemingly in solitary confinement inside seemingly identical images of cell-like rooms measuring 10ft x 10ft x 10ft. We seemingly shall not converse, listen to the radio or watch television, until — after you have viewed them for one year — we unseal our images. We shall appear to have food every day. Our friend the web site, www.turbulence.org, will facilitate this piece by serving our images to the World Wide Web.
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GSG Office Project directed by
Douglas
Weathersby
USA,
2004,
Color,
Magnetic Stereo,
00:10:50
PRODUCT PROJECTS ART
Environmental Services brings the conceptual focus of art making to the many cleaning and repair projects I offer for your home or place of work. It is my aim to provide you with fresh perspectives on your living and working space. I am for hire and available to perform a project for you, maybe even today!
One Time Heavy Cleaning ./hour
Gallery Cleaning ./hour
Studio Cleaning/Organizing ./hour.
Home Repair call for estimate
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Art Handling ./hour 3h min.
On Site Installation: Temporary ./hour
Permanent Call
Project Photographs: 8x10 digital c-print 0.
med. format c-print Call
Project Videos; VHS/DVD/miniDV Call
Full Project Report: Suite of Photographs
Video Documentary
Project Log 00. up
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ASPECT: The Chronicle of New Media Art Volume XI
MC-870, 2008
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This volume of ASPECT features a spectrum of time-based works by nine new media artists hailing from South or Central America. "What about an issue on Mexico?" came the suggestion from a frequent contributor. We realized we had never published a... more >
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Aspect: The Chronicle of New Media, Volume X
MC-748, 2007
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Exploring the pastoral, ASPECT shifts the concept of urban as center in Volume 10: Rural. Proving that bucolic
concerns are equally vital, this issue features nine artists who challenge and investigate the real, imagined, and
mediated natural... more >
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Tipping Point: Health Narratives from the South End
MC-622, 2006
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Venturing into new ground, ASPECT has created a new DVD documenting The Tipping Point: Health Narratives from the South End. This DVD follows four artists creating an interdisciplinary interactive artwork over two years.
For the first time,... more >
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