Video, recorded by Carlton Bright, of a night of performance by Group 6.0. My piece includes the superb Blessed Buckets performing My Buckets Got a Hole in It and God Bless the Child on violin and mandolin. My animation re Jordan Belfort accompanied them but is off to the side. Carlton collages it in at one point. Thanks Carlton. Thanks Buckets. Thanks Jody for inviting me to contribute.
I am happy to report that I will be part of ‘Meat Cleavers and Screen Savers for the New Age’ – an evening of 6-minute performances by the 6.0 Group this Monday, February 3 at Kunsthalle Galapagos. My contribution will be a short animated riff on Jordan Belfort’s new stand-up routine. I will be accompanied by a musical performance by the Blessed Buckets. I am excited.
Meat Cleavers and Screen Savers for the New Age
Monday, February 3, 2014
Kunsthalle Galapagos
16 Main Street, Brooklyn, New York 11201
This Red Door Presents:
An evening of nine six-minute multi-media performances by the 6.0 Group members: Jody Wood, Karl Erickson, Jamie Diamond, Kimberly Ruth, Elisabeth Smolarz, Rachel Stevens, Tamar Ettun and Meredith Drum.
Participating artists met and fell in love during the LMCC Swing Space residency on Governors Island; the 6-minute classy yet windy boat trip to the island initiated the 6- minute structure for the performance.
I am pleased to report that an article I wrote was published in AR(t) Magazine, Issue #4 (Dec. 2013). AR(t) is a publication out of the AR Lab at the Royal Academy of Art, The Hague. The long and ambitious title is: “Place-based, Somatic Augmented Reality as Critical Practice.” Link: http://arlab.nl/content/downloads
My article, “Place-based, Somatic Augmented Reality as Critical Practice” will be published in the upcoming issue of AR[t] magazine, a publication run by researchers at the AR Lab (Royal Academy of Arts, The Hague), Delft University of Technology, and Leiden University. My article considers place-based work by Teri Rueb (a document of Rueb’s No Places With Names above) and by Manifest AR (particularly Border Memorial by John Craig Freeman and Mark Skwarek, also above). The article also seeks precedents for contemporary somatic AR in works by Jeffrey Shaw (Golden Calf, 1994) and Rebecca Allen (Coexistence, 2001). Another iteration of my research project was published as a short article in Media-N Journal, summer 2013.
I will be hosting a panel discussion as part of Pratt Institute’s PHATT-B, a one-day festival of electronic art. My panel starts at 11:30am and is called: Augmented Reality as Critical Practice. My panelists are Teri Rueb, Sarah Drury, Mark Skwarek, and John Craig Freeman. I am excited. Should be a good day that also features some fantastic people including a keynote by Eva and Franco Mattes (a document of their work above). If interested, please visit the event webpage. Here is the description of my panel. As the capacity of handheld devices has increased, and new augmented reality software has made production more accessible, there has been a corresponding surge of AR projects produced by artists concerned with place and situation. In what ways can these projects refocus attention in virtual and actual public spaces, and provide platforms for expanded public discourse? How do these artists produce within the boundaries of mobile AR, navigating common limitations (small screens, jumpy GPS, device dependency narrowing audience), to create meaningful experiences? This panel starts with the premise that artist-produced AR has the potential to significantly alter our relationship to cultural, political and social phenomena and to other bodies—humans, animals, plants, built structures, landforms and visible and invisible machines. Four artists producing critical place-based AR—Teri Rueb, Sarah Drury, John Craig Freeman and Mark Skwarek—will discuss their concepts, processes and choices with the audience and moderator Meredith Drum.