533 west 19th street David Zwirner.... Stan Dougles thru dec. 17th

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Anthony McCall The central formal element underlying Anthony McCall's fusion of sculpture and cinema is durational stru cture. In this program, McCall discusses his recent projects within the context of his early work, expanding on the idea of durational drawing (in 2008 he reenacted the 1974 work Five-Minute Drawing at the artist-run exhibition space Orchard). Influenced by music scores, flow charts, storyboards, and architectural projections, his "solid light" installations are always initially developed through drawing; he also does the reverse, producing studies after a work has been realized. McCall discusses the relationship between the drawn line and the projection beam—representations of time and volumetric form on paper. McCall's work is currently presented in Anthony McCall: Elements for a Retrospective (Utzon Center, Aalborg, Denmark, previously at the Serpentine Gallery, London) and Anthony McCall (Galerie Martine Aboucaya, Paris), in addition to the following group exhibitions: Notation: Calculation and Form in the Arts(Akademie Der Kunste, Berlin), Cinema Indeed: Narratives & Projections (Itaú Cultural Center, São Paulo), Singapore Biennial 2008, and Seeing Double(Galerie Thomas Zander, Cologne). Program 90 min.
Monday, December 15, 2008, 7:00 p.m., Theater 2, T2

i will have to escan this essay... itws to small to read,,, check again later...

Nov. 20th this thursday

We will be meeting at the MOMA at our usual start time of 1 :10. The front inside entrance to the left..... thats where we will meet.

Monday,

November 17, 2008

7:00 p.m.

Film Screenings & Events

An Evening with Pipilotti

Rist

In anticipation of the opening of Pipilotti Rist: Pour Your Body Out (7354 Cubic Meters), a monumental commission for the Museum's second-floor atrium, the artist takes part in a conversation with Klaus Biesenbach, Chief Curator of Media, about her video, sound, and sculptural installations. Many of her earliest videos were made with the experimental klezmer-punk-pop band Les Reines Prochaines, of which she was a member from 1988 to 1994. In the early 1990s, Rist began experimenting with various forms of electronic media. In 2005 she represented Switzerland at the fifty-first Venice Biennale, where she presented Homo sapiens sapiens (2005), an expansive video projected onto the ceiling of the San Stae church. For her upcoming installation at MoMA, Rist re-envisions the architecture and use of space in the Museum's atrium by creating a lush, immersive landscape shaped by images, sound, and sculptural elements.

Program 90 min.
Theater 2 (The Roy and Niuta Titus Theater 2), T2

In the Film exhibition Modern Mondays

Ticketing policies for film screenings
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PSYCHIC TV* (PTV3) this saterday in greenpoint click link for details

http://www.myspace.com/ptv3

read for Nov. 13th .....

For November 13 class read the following essay by Walter Murch, available on-line: “Dense Clarity Clear Density.”

Murch is a cinema sound innovator, “giant” in the industry, founding member of American Zoetrope, writes and speaks on the subject extremely well. Recommended: “The Conversation” a film that was Murch’s idea and edited by him, a very sound specific film.

The following two books are fundamental reading material on the subject of audio in relation to time-based images.

For extra credit: write a two-three page paper responding to one the texts—for example, choose a particular idea, theory or history presented in the either of the books or in Murch’s essay and address its meaning and its application in your work.

--Sound Theory, Sound Practice, Rick Altman, Routledge. A collection of essays about sound/audio primarily in cinema but very interesting and relevant to time-based art.

Amazon available.

--Audio-Vision, Michel Chion, Columbia University Press, 1994. Chion is a French scholar of audio in cinema, this book has been a “bible” on the subject for years.

Forward is by Walter Murch. Amazon available.

Terminology:

Synchronized sound is “matched” to the image; non-synch sound is not matched to the image.

Diegetic Sound:

Sound whose source is visible on the screen or whose source is implied to be present by the action of the film: voices of characters or sounds made by objects in the story or music represented as coming from instruments in the story space ( = source music)

Diegetic sound is any sound presented as originated from source within the film's world

Digetic sound can be either on screen or off screen depending on whatever its source is within the frame or outside the frame.

(Diegesis is a Greek word for "recounted story.")

Non-diegetic Sound

Sound whose source is neither visible on the screen nor has been implied to be present in the action: narrator's commentary or sound effects which is added for the dramatic effect or “mood” music

Non-diegetic sound is represented as coming from a source outside story space.

The distinction between diegetic or non-diegetic sound depends on our understanding of the conventions of film viewing and listening. We know of that certain sounds are represented as coming from the story world, while others are represented as coming from outside the space of the story events. A play with diegetic and non-diegetic conventions can be used to create ambiguity (horror), or to surprise the audience (comedy).

Synchresis

Synchresis is the forging between something one sees and something one hears - it is the mental fusion between a sound and a visual when these occur at exactly the same time. Synchresis is an acronym formed by telescoping together the two words synchronism and synthesis

The possibility of reassociation of image and sound is fundamental to the making of filmsound. For a single face on the screen there are dozens of allowable voices - just as, for a shot of a hammer, anyone of hundreds of sounds will do. The sound of an ax chopping wood, played exactly in sync with a bat hitting a baseball, will "read" as a particularly forceful hit rather than a mistake by the filmmakers

When we expect sound - a character walking for example - synchresis are unstoppable and the filmmaker can use about any sound effects for these footsteps. 


Siebren Versteeg at Max Protetch on 24th and 10 ave

This is a link to genral and important microphone information

http://www.audio-technica.com/cms/site/9904525cd25e0d8d/index.html

Dear Students,

Please email me your proposal for the mid term project. I would like to

go over your plans in preparation for seeing you next week.

Thank you,

Constance

Blues Control .. at cake shop this friday 7 Bucks...highly recommended,, this group is wonderful 152 Ludlow...at Cake Shop

Stephen Vitiello, Four Color Sound The Project October 8 - October 31, 2008

The Project, New York is pleased to present Stephen Vitiello’s fourth solo exhibition at the gallery, Four Color Sound (2008), an immersive environment divided into four sections: Blue, Red, Yellow, and Green. It was originally commissioned by DiverseWorks, a non-profit exhibition space in Houston, and features lighting design by Jeremy Choate.

The 28-minute audio cycle is accompanied by choreographed lighting effects that charge the foggy room with four consecutive color segments. Each audio section combines sounds produced using electronic synthesizers with excerpts from Vitiello’s documentary field and instrumental recordings. For example, in the Blue section one hears birds and insects recorded in the Brazilian Amazon. The Yellow section consists of instrumental sounds from the group Beta Collide, including the trumpet, flute and percussion. There are frogs recorded in Virginia in the Green section and, finally, thunder in the Red section. Although each section is a study in monochromatic color and sound texture, the cross fades are sublime moments of transition.

Stephen Vitiello is an electronic musician and sound artist. Recent solo exhibitions include Duets, MC, Los Angeles (2008), DiverseWorks, Houston (2008), and Slow Planes, Fast Trees, Contemporary Art Center of Virginia, Virginia Beach (2007). Vitiello’s work is currently part of Perspectives 163: Every Sound You Can Imagine at the Contemporary Arts Museum in Houston. Recent group exhibitions include dis(concert), Steve Turner Contemporary, Los Angeles (2008) and Organizing Chaos, P.S. 1 Contemporary Art Center, New York (2007).

Vitiello also participated in the 2006 Biennale of Sydney, the 2002 Whitney Biennial and Greater New York at P.S. 1 Contemporary Art Center presented in collaboration with the Museum of Modern Art. He was also a short-listed nominee for the Nam June Paik Award in 2006. Since 1988, Vitiello has collaborated with artists, musicians and choreographers, including Dara Birnbaum, Jem Cohen, Andrew Deutsch, John Jasperse/ White Oak Dance Project, Joan Jonas, Julie Mehretu, Pauline Oliveros, Tony Oursler, Nam June Paik, Eder Santos, Scanner and Yasunao Tone. Upcoming projects include a performance at The Marfa Sessions on September 26th with Steve Roden and an installation for MASS MoCA.

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303 gallery Doug Aitken

Doug Aitken

Migration

September 20 - November 1 2008
547 W 21 Street

• work in exhibition

September 20 - November 8 2008
525 W 22 Street

• work in exhibition

THURSADAY 18th

Hello Everyone,

Let's plan to meet next Thursday at 1:30 at Simon Preston Gallery

301 Broome Street. Please read about the exhibition on our

timebasedmediablog. The gallery has a web site if you need

directions to broome street.

We will then go to Stanton Street, Luxe Gallery and visit

the exhibit of Marie Losier. Again, please read about the exhibition

in the post of our blog.

Simon Preston Gallery

301 Broome Street, 212-431-1105

East Village / Lower East Side

September 5 - October 26, 2008

Opening: Friday, September 5, 6 - 8PM

Jessica Mein will show two animated videos together with a series of drawings that attempt to capture the patina of time and layered grittiness of the urban landscape. Her videos are comprised of a series of drawings and photographs, in excess of 600 images each, collected predominately from her birthplace in São Paulo and condensed into a complex animated sequence. Each individual image has been cut, collaged and drawn on, incorporating accidents, glitches and errors, which emphasize the characteristics and limitations of the medium. Her drawings employ the quality of mechanized labor, like that of an automaton dutifully performing a task. In an attempt to break the illusion of linear, absolute time, she elicits the perceptual subjectivity of memory. Rather than narrative itself, the work is interested in the physical structure of a story, disrupting technological seamlessness with the inherent faultiness of the handmade.
Jessica Mein graduated from an MFA at Hunter College in New York in 2007. Her previous video, DeleveleD, 2007, is currently on view at the Museum of Modern Art in New York.

Paula Cooper Gallery
CHRISTIAN MARCLAY
Cyanotypes

4 September - 11 October 2008
521 West 21st Street, New York

Paul McCarthy: Central Symmetrical Rotation Movement on view through October 12, 2008

Marie Losier– OUTTAKES
Exhibition: Sept 7 – Oct 8, 2008

Opening Reception: Sunday Sept 7 from 6-9pm, 2008


Save the Date! Tuesday Sept 23th, 2008, 7pm
Florence Gould Hall, FIAF - 55 East 59 street, NYC.
Marie Losier Film screening, and conversation between Losier & Tony Conrad.

Organized by The French Institute Alliance Francaise,
as part of Crossing the Line, FIAF’s annual Fall Festival,
from Sept 15th through Oct 5th, 2008.

Marie Losier– OUTTAKES

A celluloid portrait-in-progress is transformed into a riotous playground for the Cinema’s past in Outtakes, Losier’s endlessly creative, hands-on installation devoted to industrial rock pioneer Genesis P-Orridge (Throbbing Gristle, Psychic TV, Thee Majesty) and his partner Lady Jaye. Constructed almost entirely of unused clips and sound bites from Losier’s upcoming feature film, The Ballad of Genesis and Lady Jaye, Outtakes puts the forlorn footage to work in the service of a whimsical retelling of film history — one in which the transformative Genesis P-Orridge is its unlikely star.

Peephole boxes, antique lenses, a campy music video machine from the early 1960s (Scopitone) each historical device brings film off the big screen and down to eye level, providing the audience with an incredibly intimate encounter with their cinematic and musical past. Outtakes defamiliarizes and recontextualizes its way to an astounding personal tribute — and all while returning the obsolete and abandoned to center stage.

OUTTAKES constitutes the filmmaker's first solo exhibit that she devised specifically for the gallery context. In addition, Losier has invited a few long standing accomplices to collaborate on the realization of some of the works, and wishes to acknowledge and thank: artist and curator Jean Barberis, for constructing the peeping boxes and Scopitone jukebox-like filmic machine with Genesis P-Orridge re-enacting Papal Break dance; Sebastien Santamaria, for his collaboration in the making of the films and ongoing work on the feature film; and artist Bernard Yenelouis, who has worked on many of Marie Losier's film shoots, for the series of photographs depicting the rock icon as the new film star from the silent movie era.


Marie Losier is a French-born filmmaker and film curator who lives and works in New York City, whose films and videos have been featured at numerous museums (Tate Modern, MOMA, Whitney Biennial...), galleries, festivals (Basel Art Fair 08), and biennials. Losier’s upcoming and first feature film “The Ballad of Genesis and Lady Jaye” is dedicated to Genesis P-Orridge, Lady Jaye and her band Psychic TV3 and constitutes her latest Film Portrait of leading avant garde creators including George and Mike Kuchar, Guy Maddin, Richard Foreman and Tony Conrad.

Genesis BreyerS P-Orridge is the pioneer co-founder of the famous band THROBBING GRISTLE, 1975; co-founder of hyperdelic acid house innovators PSYCHIC TV, 1981; S/He also founded spoken word/ambient music performance group THEE MAJESTY 1999. Invented the term/genre INDUSTRIAL MUSIC September 3rd 1975, releasing more than 200 CDs of experiments in music to date. In 2003 Genesis changed name to Genesis Breyer P-Orridge and began a performance/action series called Breaking Sex with partner Lady J. Breyer P-Orridge. This project is about re-union and re-solution of male and female to a perfecting hermaphroditic state. This includes having cosmetic surgeries that blur the lines between their sexes and bring them nearer to being one physically.

http://www.luxegallery.net/