Chapter 3 | 2:02:57
Konjit Seyoum | Addis Ababa, Ethiopia
The Coffee Tree and I, 2020
Covid is here since March.
In April, a state of emergency was declared to curb it.
In June, I went out and bought this coffee tree seedling and planted it in my garden.
I am not watering it because right now we are in the middle of the rainy season.
In fact, we are also in the middle of everything.
We are planting, placing, displacing, holding, interring, charging, discharging...
We, them and us together. Disjointedly.
The Coffee Tree and I is a piece inspired by John Newling’s The Lemon Tree and Me. It is a work in progress. I will continue watching it grow and all that grows in it, with it, from it and around it.
Jeanne Criscola | Connecticut, USA
Reading Color: Study 1, 2019
Bruce Nauman typography
Ana MacArthur | Santa Fe, New Mexico, USA
RE(a)SONANCE; it’s not what you think, 2016
In deliberate intensions immersing myself into the outback terrain of the Pipevine swallowtail butterfly, I slowly became its world. Boundaries of self disappeared….my eyes looked back at me through this animal’s grasses and trees. In these Sonoran Desert wanderings and long meditations on the fluttering creature…. this iridescent butterfly spoke its perpetual oscillation, via eyes and ears, and pointing like x-ray vision to wounds in my own physiology aching for the respect to release further circulation.
Daniel Marchwinski | Detroit, USA
I’ll Tell You Tomorrow, 2016
Jeanne Criscola | Connecticut, USA
rock n roller, 2007
Khaled Hafez | Egypt
Egypt Tomb Sonata in 3 Military Movements Goddess, 2010
From the installation for the Egyptian Pavillon, Venice Biennale
Margaret Hart | Massachusetts, USA
Poly-morphosis, 2020
Daniel Hyatt | Pakistan
escape from the cage (and dance), 2020
Stephanie Reid | Austin, Texas, USA
Catching Fireflies, May 2020
Catching Fireflies speaks to the human desire to collaborate with the natural world in a harmonious and creative way. During the editing process I realized how satisfying it was to play with the fireflies’ flashing rhythm by slowing down the speed and adding repetition. This allows the viewer to really see these elusive creatures instead of barely catching a glimpse from our peripheral vision. The keyboard generated “song” is what I imagined we would hear them sound like if we had ultrasonic auditory abilities. Introducing electronic sounds and movements seems fitting for insects designed with the almost futuristic phenomenon of bioluminescence. Scientists have discovered how to harness it into dim light sources. Once they get it bright enough for humans to use, it could be one of our steps away from reliance on fossil fuel generated electricity.
Rori Knudtson | USA/Denmark
Seeds, 2018
Developed with Daniel Marchwinski, ME provides an accessible, engaging, and useful tool within the infinite Seed ecosystem to educate users about transformational technology that serve the individual and global good.
Angeliki Avgitidou | Greece
Recipe for Utopia, 2018
Susie Quillinan | Peru/Australia
Process, 2012
Gabrielle Senza | Berkshires, Massachusetts/USA
Sin Paredes / Storia #1, 2017
Anna Binta Diallo | Canada
Negotians II, 2013
Raphael Raphael | Athens, Greece/Hawaii
Hidden Treasure of the Sweet Absolute (proof of concept), 2017
Dafna Naphtali | Brooklyn, New York
AWOL_socket Revision, 2016/2020
AWOL Socket was created during my residency at Signal Culture in 2016. I experimented with video synthesis that was controlled and mediated by a chain of multiple control sources, each one removing me one step further from my original materials. I used a modular audio synthesizer (Serge) which was in turn controlled by a Max patch, which was in turn controlled my facial expressions via MIDI. I also incorporated video feedback from several cameras in much the same way as my usual work with audio feedback and sound manipulation does, also using the mighty Wobbulator (a recreation of the original Nam June Paik device). While recording the original materials in the studio, in spite of all this mediation, I still felt it to be a totally embodied, physical even synaesthetic experience. Looking back now I see how this process of distance and mediation giving rise to stubborn embodiment is emblematic of more recent experiences I have as a performer and educator under our current circumstances and pandemic.
George Angelovski | Australia/Singapore/Australia
To make a collection of Butterflies and Beetles Is a cruel humid house, 2020
Jean Marie Casbarian | New York, USA
Memory as Practice (an on-going project in trying to remember)
Silent Listening (First Chapter), 2020
Deborah Caruthers | Canada
slippages, 2018
A synthesis of material from researchers at the University of British Columbia as well as my own research at the Peter Wall Institute for Advanced Studies in 2017–2018 regarding the physical, anthropological, and philosophical properties of glaciers. The October 5, 2018 world premiere was performed by the University of British Columbia Symphony Orchestra under the direction of Maestro Jonathan Girard at the Chan Centre for the Performing Arts in Vancouver, British Columbia, Canada. The sound and performance in the video are excerpts from the performance. The performance audio is synced with my graphic score and interspersed with my still photographs from the Athabasca Glacier. Just over 5min; the original video is approximately 12min, depending on the version.
