Thalia and Reproduction

The Legend of Leigh Bowery (1/6)

2012-02-25T06:17:00.000-08:00

Orpheus and Eurydice

2012-02-23T07:21:00.000-08:00

Irrelevant objects could become powerful emotional objects that affect the way you want to be seen by others.

2012-02-21T11:15:00.003-08:00

I will always love you she said, and she left us with music. I wish you all a pleasant day, productive, and easy day. I will always love you, she said, and she left us with music. None of this, any of this will protect you from the inevitable. –A man on the 14th St and 6th Ave. platform

2012-02-21T11:15:00.001-08:00

Richard Feynman Lecture 4 Part 1/7: Problems in QED and The Standard Mod...

2012-02-13T07:14:00.000-08:00

The Dalai Lama and Quantum Physics 1/6

2012-02-13T07:11:00.000-08:00

Eva Respini and Boris Mikhailov in Conversation

2012-02-08T09:07:00.000-08:00

June 1, 2011 | Artists, Boris Mikhailov

A Conversation with Boris Mikhailov

Posted by Eva Respini, Associate Curator, Department of Photography

Boris Mikhailov. Untitled, from the series Case History. 1997–98. Chromogenic color print. Courtesy the artist, Pace/MacGill Gallery, New York, and Galerie Barbara Weiss, Berlin. © 2011 Boris Mikhailov

Boris Mikhailov is one of the leading photographers from the countries that formerly constituted the Soviet Union, and his work is currently on view in the exhibition Boris Mikhailov: Case History at the Museum (through September 5). For over 40 years, Mikhailov has explored the position of the individual within the mechanisms of public ideology, touching on such subjects as Ukraine under Soviet rule, the living conditions in post-communist Eastern Europe, and the fallen ideals of the Soviet Union. Although deeply rooted in a historical context, his work incorporates profoundly engaging and personal narratives of humor, lust, vulnerability, aging, and death. This exhibition is selected from a larger body of work titled Case History, which comprises 400 photographs and was published as a book in 1999. Arguably his most challenging project, it explores the deeply troubling circumstances of bomzhes—the homeless—a new class that emerged after the collapse of the Soviet Union in 1991.
Once you see the pictures from Case History, they are impossible to forget. They are touching, devastating, and shocking. I feel that a museum should be a place that encourages debate and discussions presenting challenging ideas about the world. Boris’s work evokes many strong emotions and questions, so I asked him to share his thoughts about Case History.
Eva Respini: How did the series Case History come about?
Boris Mikhailov: What is truth or not truth? My feelings about this series have changed over time, so this is how I understand it now. I am from the Ukraine, but had been living in Berlin for a year on a stipend. After being away, I came back to my home town of Kharkov and it was very different from when I left. What was different? There were lots of color advertisements and other signs of the new capitalism, but when you looked more closely you could see a new society of people—the homeless.

ER: There were no homeless people in the Soviet era?
BM: There may have been some, but it was not common. Everybody had to have a job and the homeless were certainly not photographed. At that time it was illegal to photograph anything that made life and society look bad. For example, I was once arrested in Soviet times because I made pictures of people drinking, which did not fit into the Soviet propaganda. Now I was able to take pictures of what had been forbidden before, and this presented new possibilities to me as a photographer. With Case History, I saw it as my social responsibility to photograph these people. I saw how homeless people were helped in the West, but the government in the Ukraine had no money to do this. I think of the United States, when photographers like Dorothea Lange were hired by the government to photograph the Great Depression.
ER: How did you find the people in your photographs?
BM: First I should say that everything I do is in collaboration with my wife, Vita. When I saw somebody that I wanted to photograph, who was interesting to me, she would talk to them and help them. Then we would talk with them and collaborate with them to make a picture. They had no money, so I would pay them, to help them.

ER: I know the issue of paying your models is controversial.
BM: This is the first time I paid my models. I don’t think this is an issue. If models get paid to appear in an advertisement, nobody cares. Why can’t I? This gave me the possibility to photograph them, and gave them the possibility to live. This is what Western photographers would do when they came to Russia to make pictures. The models would be paid as if they were posing nude at the art academy.
ER: I am glad you brought this up—there is a lot of nudity in the pictures.
BM: Nakedness is not important in many ways. Survival was important. You have to understand what was happening at that time. The Ukraine was very very poor, and everything was changing. Middle class people became poor and only very few people became rich. Ideas of modesty and morality were changing. Morality was broken, and prostitution was everywhere. I was trying to find a way to photograph this. These people posed nude without shame. Also, I had just come from Berlin, where there were plenty of nude people on the beach—there was a different idea of nakedness in the West.

Boris Mikhailov. Untitled, from the series Case History. 1997–98. Chromogenic color print. Courtesy the artist, Pace/MacGill Gallery, New York, and Galerie Barbara Weiss, Berlin. © 2011 Boris Mikhailov
ER: What do you say to people who do not think these are “real” documentary pictures?
BM: Documentary cannot be truth. Documentary pictures are one-sided, only one part of the conversation. Anyway, documentary pictures are not possible anymore with digital technology as nobody believes in the truth of pictures. These are real people in Case History. The only thing that changes is how they are posed and that they are naked. I posed these people in poses that remind me of the history of art or of gestures that I saw in life. Sometimes I asked them to repeat a gesture that they made so I could photograph it. With Case History, I wanted to find a metaphoric image of life. For example, how do you show prostitution? Nakedness doesn’t begin to describe this condition, so I asked my models to pull up their clothes as a metaphor for their life. For Case History, old documentary methods weren’t possible—it was important and necessary for me to find new methods to show this life.
Note: This conversation took place with Boris and Vita Mikhailov over lunch on May 20, 2011, and was transcribed and edited for clarity. Some responses were translated from Russian with the help of Vita Mikhailov.

Orphee et Euridice - Pina Bausch

2012-01-25T13:48:00.000-08:00

Gluck: Finale (Orpheus und Eurydike)

2012-01-25T13:26:00.000-08:00

BIS:Maria Callas sings "O mio Babino Caro" in Amsterdam in 1973 720p HD

2012-01-25T10:26:00.000-08:00

http://biology.clc.uc.edu/fankhauser/Labs/Anatomy_&_Physiology/A&P202/Brain_Dissection/brain_dis_jpgs/10_lift_brain_P1141732md.JPG

2012-01-19T13:50:00.001-08:00

How to remove a cat brain

two great shows at under the radar festival in NYC 2012

2012-01-12T09:03:00.000-08:00

http://www.undertheradarfestival.com/index.php?p=463
http://www.undertheradarfestival.com/index.php?p=460
http://www.motusonline.com/
http://www.marianopensotti.com/

Nature Photos by Walter Kitundo

2012-01-12T08:58:00.000-08:00

http://birdlightwind.com/tag/great-horned-owl/

The Kresge Foundation

2012-01-10T09:39:00.003-08:00

http://www.kresge.org/programs/arts-culture

shoelace design

2012-01-10T09:37:00.000-08:00

http://fieggen.com/shoelace/doublecrosslacing.htm

grow a tree home

2012-01-10T09:17:00.000-08:00

http://www.terreform.org/fab_tree_hab_joachim_web.mov
http://www.archinode.com/bienal10.html

Jack Rose - Kensington Blues

2012-01-09T07:41:00.000-08:00

Philippe Decouflé

2012-01-08T14:13:00.000-08:00

Philippe Decouflé

2012-01-08T14:11:00.000-08:00

Weightless by Erika Janunger

2012-01-08T14:10:00.000-08:00

Analogia Inusual - Sasha Waltz

2012-01-08T14:07:00.001-08:00

Duende - Silhouetten - Oerol 2007

2012-01-08T14:07:00.000-08:00

Judy Garland - Swing Low, Sweet Chariot (Everybody Sing, 1938)

2012-01-08T13:00:00.000-08:00

Love Diamond by Miranda July

2012-01-08T12:28:00.000-08:00

Miranda July Interview

2012-01-08T12:25:00.000-08:00

Are You The Favorite Person of Anybody?

2012-01-08T12:23:00.000-08:00

Arcade Fire presents Sprawl II (Mountains Beyond Mountains)

2012-01-08T10:52:00.000-08:00

Cheap Trick - If You Want My Love

2012-01-08T10:27:00.000-08:00

Taylor Dayne - Tell It To My Heart

2012-01-08T10:23:00.000-08:00

New Order - True Faith (Music Video 1989)

2012-01-08T10:21:00.000-08:00

Aakraman - Fauji gaya jab gaon mein

2012-01-07T13:05:00.000-08:00

Jim Carrey as Jay Leno

2012-01-07T13:00:00.000-08:00

Jim Carrey's Kevin Bacon Impression on "The Tonight Show Starring Johnny...

2012-01-07T12:55:00.000-08:00

Jim Carrey - Environmental Guy

2012-01-07T12:47:00.000-08:00

Chhailla Babu - Kal raat sadak pe ek ladki

2012-01-07T12:27:00.000-08:00

Apna Desh - Sun champa sun tara

2012-01-07T12:25:00.000-08:00

Mumtaz, Amitabh Bachchan - Dil To Layi Gava (Bandhe Hath)

2012-01-07T12:21:00.000-08:00

Apna Desh - Duniya mein logon ko

2012-01-07T12:20:00.000-08:00

Piya Tu Ab To Aaja (Monica, Oh My Darling!)

2012-01-07T12:17:00.000-08:00

Indian Tomb

2012-01-07T12:10:00.000-08:00

Cobra Dance - John Robinson (©1982 - 2012 - bfm/woa)

2012-01-07T11:52:00.000-08:00

The most stylish death scene ever

2012-01-07T11:50:00.000-08:00

Yeh Mera Dil - Helen - Amitabh Bachchan - Don - Bollywood SuperHit Item ...

2012-01-07T11:38:00.000-08:00

Raaste kaa Patthar

2012-01-07T11:34:00.000-08:00

Origins of Jaan Pehechaan Ho - Shankar Jaikishan's Legacy

2012-01-07T11:29:00.000-08:00

The Ballet Scene from the Night Porter Film By Danial Kaysi and Amal Jou...

2012-01-07T11:06:00.000-08:00

Night Porter - Ballet

2012-01-07T10:59:00.000-08:00

New Order - Age of Consent (HQ)

2012-01-07T10:47:00.000-08:00

Edipo Re - Pasolini

2012-01-07T09:07:00.000-08:00

Mekanïk Destrüktïw Komandöh - Berlin

2012-01-06T09:39:00.000-08:00

Themroc pt. 3

2012-01-02T14:50:00.000-08:00

Pink Narcissus

2012-01-02T08:19:00.000-08:00

Narcissus - Norman Mclaren (1983) Part 1.AVI

2012-01-02T08:09:00.000-08:00

Kid Svensk (Eng Sub) [7/9]

2012-01-01T18:35:00.000-08:00

Frankenstein: The True Story(1973)

2012-01-01T18:30:00.000-08:00

David Lynch - Ghost of Love

2012-01-01T18:07:00.000-08:00

Very Nice, Very Nice

2012-01-01T18:05:00.000-08:00

Deep forest-Savana dance

2011-12-28T13:25:00.000-08:00

music

2011-12-21T13:30:00.000-08:00

Richard Crandell In the Flower of Our Youth

http://www.myspace.com/softcircle

Stokowski and Serebrier Conduct Charles Ives Symphony No.4

2011-12-21T12:47:00.000-08:00

Richard Crandell - Bells

2011-12-21T12:01:00.000-08:00

Panasonic HDC-Z10000 Twin-Lens 2D/3D Camcorder

2011-12-20T07:14:00.000-08:00

Panasonic HDC-Z10000 Twin-Lens 2D/3D Camcorder

Price: $3,325.00
Add to cart for lower price

Product Highlights

Full HD Stereoscopic 3D Recording
6x CMOS Sensors - 2.2 Mp Each
Dual Integrated 10x Lenses (12x in 2D)
18" Minimum Object Distance in 3D
Auto & Manual Convergence Adjustment
Manual Rings for Focus, Iris & Zoom
Multi View Coding (MVC) Recording in 3D
1080p60 AVCHD Recording in 2D
Dual XLR Inputs
2D/3D Still Image Recording

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Remember the Essentials

Recording media is not included, be prepared - always carry extra media.

The Panasonic HDC-Z10000 Twin-Lens 2D/3D Camcorder has dual lenses and twin Full HD 3MOS imagers, and as such it joins a burgeoning class of affordable, single-body 3D-capable handheld camcorders. But it introduces to this category those three-chip imagers and also true convergence adjustment, which alters the angular orientation of the two 10x zoom lenses. This control facilitates fine control over the location of the "image plane" – the plane from which objects seem to either jump or recede as you're watching them on the big screen, or on the Z10000 camcorder's glasses-free 3.2" LCD monitor.
Convergence can be set to adjust automatically, or you can turn a manual dial to make the lenses' sights diverge or move toward parallel. The lenses shoot fairly wide at a 35mm equivalent of 32mm when in 3D mode, which gives more options for placing foreground/background elements in a 3D scene or for shooting indoors. For close-ups, the minimum object distance is also quite impressive for a 3D camera at about 18" in 3D.
The camcorder also puts manual control over focus, zoom, and iris at the operator's fingertips in the form of three rings at the base of the dual lenses. Alternatively, you can operate the camera under iA ("intelligent auto") mode and let the Z10000 choose the optimal shooting mode, turning on face detection, contrast control, and optical image stabilization as needed.
The HDC-Z10000 records to two SD/SDHC/SDXC memory card slots either sequentially or simultaneously. In 2D mode, the camera captures several flavors of high-definition AVCHD format video, including AVCHD Progressive at 1080p60. Three-dimensional video is recorded as AVCHD 3D, which uses MVC (multiview video coding) compression. (This format has already started to find compatibility with popular nonlinear editing software programs.) With dual XLRs inputs and a five-element built-in microphone, the Z10000 facilitates high-quality capture of two-channel audio or 5.1 surround sound.

Professional-Quality Full HD 2D and Full HD 3D Images: The Double 3MOS System reflects the sum of a number of unique technologies that Panasonic has accumulated. This advanced imaging system combines two large-diameter f/1.5 lenses featuring a special Nano Surface Coating technology, with two independent, high-sensitivity 3MOS sensors (left and right) for superb color and detail reproduction, and the newly developed Crystal Engine Pro II for high-speed processing. The result: an entirely new dimension in lifelike imaging

High-Sensitivity 3MOS Sensor: The HDC-Z10000 employs two independent, high-sensitivity 3MOS sensors, left and right, each with a three-sensor configuration. This provides a resolution of 6.57 million effective motion image pixels (2.19 million x 3). With their excellent color reproduction and strong low-light shooting capability, these 3MOS sensors maximize the quality of Full HD 3D and Full HD progressive images ¹
Please Note:
Each sensor offers 6.21 megapixels (effective) when shooting in 3Dclose

Crystal Engine Pro II Chip for Enhanced Resolution and Noise Reduction: The ultra-high-speed Crystal Engine Pro II processes the 4K2K-equivalent pixels that are obtained, and with pixel shift technology, superb Full-HD image quality is achieved even in detailed images. The improved processing capability also provides dramatic noise-reduction effects, to achieve clear, high-quality 2D and 3D images

Bright, High-Performance f/1.5 Lens with Nano Surface Coating: New large-diameter f/1.5 lenses are mounted independently, left and right. A Nano Surface Coating is applied to the front lens surface. These advanced lens systems suppress ghosts and flaring when shooting moving pictures, and let you record bright images with very little noise even in dark places. The Nano Surface Coating boasts an extremely low reflectance ratio compared with the conventional multi coating, to minimize ghosts. By forming a nano-level, microstructure film with an ultra-low refractive index on the lens surface, the reflection of incident light is greatly reduced over the entire visual light range. This Panasonic black-box technology boosts the optical performance of the HDC-Z10000 to deliver images with stunning clarity

AVCHD Progressive-Compliant 1080p60 Recording: 1080p60 recording (1920 x 1080, 60 progressive frames per second) conveys about twice the information of 1080i (interlace) recording. Fast-moving subjects, such as in sports scenes, are recorded smoothly. The progressive recording of the HDC-Z10000 fully complies with the new AVCHD Progressive standard

Dual XLR Terminals: In addition to the electret condenser microphones that are built into the HDC-Z10000, XLR audio input terminals allow 2-channel input with 48V phantom power supply for external microphones. This facilitates the use of the many high-performance microphones with XLR terminal connections that are available for professional equipment

Linear PCM Recording: The HDC-Z10000 features 48 kHz/16-bit linear PCM recording (2 channels only) and captures original sounds faithfully and accurately. This meets the demand for high sound quality, for example, when recording live music performances and the sounds of nature

5.1-Channel Surround Sound System: The HDC-Z10000 is equipped with five electret condenser microphones. The center mic helps capture the sound source and distance accurately, so you get a more three-dimensional effect. You get a realistic sound space that's a perfect match with the true-to-life HD images

Manual Rings for Focus, Zoom & Iris: Three independent manual rings allow detailed adjustment of the focus, zoom, and iris. You can fine-tune each of these adjustments while viewing the results in the LCD or EVF, so you get the exact images you want quickly and easily

True 3D Convergence Control: The convergence angle between the two lenses is variable inside the optical unit. This moves the convergence point (the reference plane of the 3D image) in a fore-and-aft direction to control the leaping and depth effects of recorded objects, allowing the camcorder to acquire natural-looking 3D images. The convergence point can be set to adjust automatically, or it can be manually adjusted with the convergence dial while viewing the LCD image, which can display the numerical setting of the convergence

Glasses-Free 3D from the 3.5" LCD: The 1,152,000-dot, 3.5" naked-eye 3D LCD lets you check your 3D images without any special eyewear. By using a parallax barrier to control the direction of the light, the LCD enables two images captured from slightly different perspectives to be viewed exclusively by the right and by the left eye. You can check 3D images while shooting, without having to connect a monitor. Naturally, the display can also be switched between 2D and 3D, and it also enables intuitive fingertip-touch operation

Color Viewfinder: The bright 0.45" Live View Finder (LVF) features high-speed response and a superb 1,227,000-dot resolution. The LVF makes it easier to optimize the focus, a crucial consideration for 3D recording. It's also supremely useful in situations that require there to be none of the excess light that LCD screens emit

Independent Control Buttons/Function Memory: Functions that are frequently used for recording, such as O.I.S. ON/OFF, Color Bar ON/OFF, Zebra Pattern Display, 3D Guide Display, Auto/Manual Iris, Auto/Manual Auto Focus, and Auto/Manual White Balance are arranged on the side of the body as separate buttons to enable quick, intuitive operation. In addition, for easy access the most frequently used functions can be allocated to three user buttons on the main unit and four user buttons on the LCD. Any of 20 different functions can be assigned to these buttons

Dual SD Card Slot: The dual SD Memory Card slot offers the option of extended recording or backup recording. When two SD Memory Cards are inserted and the first card reaches full capacity, the system automatically and seamlessly switches to the second card. This allows extended recording without having to worry about interruptions due to a lack of card capacity. Alternatively, during backup recording, the same data is recorded onto both cards for immediate duplicating or archiving purposes in the case of a faulty SD card

Bundled HD Writer XE 1.0 Software: The HDC-Z10000 is bundled with HD Writer XE 1.0 software, which lets you easily cut out MVC format Full HD 3D or 1080p60 2D Full HD images and save them onto a PC. It is also possible to write the images onto a Blu-ray Disc or SD card ²
Please Note:
In order to play images recorded onto a Blu-ray Disc, a device that is compatible with the AVCHD 3D/Progressive standards is requiredclose

One-Touch Still Image Recording: You can record 2D/3D still images (MPO-compliant) at any time, simply by pressing the shutter button. It is also possible to cut out images in all modes while shooting or playing videos. 3D and 2D still images are recorded simultaneously with 2.1 Mp resolution

Multi-Format Recording: You can select 2D or 3D recording modes to match the shooting situation. You can shoot AVCHD 3D at either 1080i60, 1080p30, or 1080p24. AVCHD Progressive (1080p60) is a high-quality choice for 2D video, and in 2D you can also shoot 1080p30 or 1080p24 – or 1080i60 at three different quality levels, which can be employed to conserve recording space

Sophisticated Image Tuning: Advanced image tuning functions, such as gamma mode, knee point, detail, detail coring, chroma levels, chroma phase, and master pedestal, can be applied to match the shooting situation. These functions provide excellent expressive control

Custom Scene Function: Up to six sets of camera setting data can be stored within the camera, enabling you to instantly configure settings based on the shooting conditions. For example, if you store regular HD recording settings, cinema-like recording settings, subject recording settings, and landscape recording settings as your customized settings, they can be instantly switched into action with a single touch when the shooting situation changes

Compact, Lightweight Body: The HDC-Z10000 delivers a high level of image quality in a tight package. It is very easy to carry around and offers superb mobility in cramped indoor locations

HYBRID O.I.S.+: The new five-axis HYBRID O.I.S.+ corrects the kind of roll-direction hand shake that often occurs when shooting while zooming or walking, in addition to horizontal, vertical, yawing, and pitching (four-axis) correction. This optical image stabilization system puts into effect at the wide end the kinds of hybrid corrections that previously worked only for telephoto shooting. This enables the Z10000 to record steady images over the entire zoom range ³
Please Note:
HYBRID O.I.S. is for 2D shooting only. POWER O.I.S. stabilizes 3D shootingclose

iA (Intelligent Auto): The iA function lets the HDC-Z10000 choose the optimal shooting mode automatically with the press of a button. The Intelligent Scene Selector, HYBRID O.I.S.+ (POWER O.I.S. for 3D shooting), Face Detection, and Intelligent Contrast Control automatically operate as needed, so you get high-quality images while the HDC-Z10000 does all the work

Wide-Angle Shooting with 10x Optical Zoom: A wide range of shooting situations are covered by this versatile lens, from 32mm wide-angle shooting (29.8mm for 2D shooting) to 10x optical zooming (12x for 2D shooting, 23x for shooting with Intelligent Zoom). This greatly extends the range of uses, from shooting in tight places to situations where you and the subject are far apart ⁴
Please Note:
These focal lengths are 35mm camera equivalentsclose

Quick Start-Up: With Quick Power-On, just switch the power on and the HDC-Z10000 is in standby mode in about 2.0 seconds, ready to shoot when you are. When the LCD is closed, the power automatically switches off. Using Quick Start mode, you simply flip open the LCD and you're ready to shoot in only 0.6 seconds ⁵
Please Note:
Depending on the recording conditions, start time may be longerclose

One-Touch 2D/3D Still Picture Recording: Simply press the shutter button to record a 2D or 3D (MPO-compliant) still image at any time. It is also possible to cut out images in all modes while shooting or playing videos. 3D and 2D still images are recorded simultaneously at 2.1-megapixel resolution ⁶
Please Note:
3-megapixel resolution for 2D, 2.1-megapixel resolution for 3Dclose

ViewSonic PJD7583wi Advanced Short Throw DLP Widescreen Projector

2011-12-20T07:10:00.000-08:00

http://www.bhphotovideo.com/c/product/800825608-USE/Viewsonic_PJD7583WI_PJD7583wi_Advanced_Short_Throw.html

Viewsonic PJD7583wi Advanced Short Throw DLP Widescreen Projector

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Price: $549.00

This is a used item
Condition: 9+ Shows little or no signs of wear
Additional Comments: BOX 42 HOURS

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Used Cat.# 825608
Mfr# PJD7583WI

Product Highlights

3D-Ready
Equipped With Interactive Pen
BrilliantColor Technology
Brightness: 3000 Lumens
Contrast Ratio: 2000:1
WXGA 1280x800 Resolution
Dual RGB Inputs
Network Ready RJ-45 Terminal
Supports Crestron RoomView Express
Closed Caption Capable

An amenable workhorse in the classroom, the ViewSonic PJD7583wi Advanced Short Throw DLP Widescreen Projector will increase your effectiveness as an educator, while expanding your reach into tighter and brighter spaces. The PJD7583wi is an ultra short throw projector, specially tuned to support widescreen formats. Choosing between auto, standard TV and widescreen aspect ratios is a luxury for both entertainment and educational purposes. For teachers, the PJD7583wi eliminates the shadows they've been casting across projection screens for years, as well as reducing distracting ambient light. The PJD7583wi can open up tight spaces by projecting an impressive 95" diagonal image on a screen from a mere 39" away. With Screen Color Correction, even soft colored walls won't limit your presentation areas.

The vivid and accurate color reproduction is owed to BrilliantColor technology, which uses a sophisticated five-segment color wheel to deliver bold, life-like saturation. The PJD7583wi also comes 3D-Ready, perfect for educators looking for a more interactive way to teach. The included PointBlank Pen complements the 3D technology by allowing kids to use an interactive whiteboard and optional software to become more involved in the learning process.
A great training tool on its own, the PJD7583wi is even more productive when run through a network. From one central computer, you can schedule multiple presentations, send e-mail alerts and even monitor the lamp status. The PJD7583wi also supports Crestron RoomView Express. With the proper software, it's possible to manage up to 250 network projectors. You can schedule events and manage assets across an entire campus from one central computer in real time.
Networking an army of projectors is an impressive feature, but individually, the PJD7583wi can handle information from two different computers simultaneously. The dual RGB inputs will add a sophisticated dimension to your presentations. You can utilize multiple computers, create startup screens, use a microphone through the 10W speaker and monitor your presentation time as well. The heightened control ensures high-quality images will be matched by expressive presentations.
With the PJD7583wi, even your carbon footprint is negotiable. Running your projector on Eco-Mode decreases the lamp brightness without compromising image quality. This can extend your lamp life three times longer than a traditional projector lamp. With less maintenance efforts and decreased energy bills, saving the planet will also save you money.

Short Throw Lens: Designed to eliminate ambient light and annoying shadows created by walking in front of the lamp, short throw projectors are also ideal for brighter and tighter spaces. The PJD7583wi delivers high performance at a short distance and can project a large, 95" image on a screen from a mere 39" away

Widescreen Projection: The PJD7583wi is specially tuned to support widescreen formats. You can switch from auto, 4:3, 16:9, 16:10 aspect ratios

3D-Ready: Ideal for classroom and boardroom applications where 3D rendering is key to the message. Great for home theatre installation and compatible with over 1000 3D video games. The advanced 120Hz frame rate provides well-defined, blur-free images when running 2D or 3D content

DLP Filter Free Technology: Enjoying filter free projection design means less maintenance and more money. This will save you significant dollars over the projector's lifespan. With no filter cleaning or filter replacement, DLP filter free projectors have a lower total cost of ownership

BrilliantColor Technology: Delivering rich all-digital clarity with life-like color, sharp graphics and outstanding video. The impressive 5-segment color (RGBWY) wheel affords greater color accuracy and detail

Interactive Pen: The PointBlank pen can work in place of your regular computer mouse. Just hold the pen in your hand and point it at the projected image to point, click, and drag. It gives you more flexibility to operate your computer without standing next to it. The self contained (IWB) interactive white board functionality along with the included pen works with a variety of software to get the entire class involved in the learning process

Network Control Through RJ-45: Schedule, manage and monitor the projector remotely and receive e-mail alerts of projector lamp status. Use the unique integrated clock to perform commands even when the host PC is powered down

Supports Crestron RoomView Express: Manage up to 250 network projectors in real time monitoring and control. Manage assets, schedule events and program email alerts as well

Eco-Mode Option: This decreases the lamp brightness and optimizes the projecting colour-schemes for different presentation content. Using Eco-Mode, the average lamp life can be up to 6000 hours. Saving both energy costs and decreasing maintenance time, this feature is good for you and the planet. There is no compromise in image brightness or product performance, but it will be more peaceful with the reduced noise output

Dual PC Inputs: Increasing flexibility is possible with the addition of a second RGB input. Having two allows multiple devices to be connected at the same time

Dynamic Contrast Mode: Contrast ratio is just the ratio of the luminance of the lightest color on display to the darkest color on display at any given time. Dynamic Contrast Ratio automatically adjusts the brightness of the screen to produce richer darks and brighter whites. The result is superior screen performance for both light and dark scenes

Integrated 10W Speaker: The integrated speakers offer full multimedia playback and allow for multiple sound sources to be connected

Presentation Timer: Indicating the presentation time on the screen, this timer will undoubtedly improve your time management skills

Screen Color Correction: Projecting on surfaces with multiple shades of white, beige, yellow, etc. is necessary sometimes. This feature adjusts the display to optimize projection on surfaces of several predefined colors

Create Your Own Startup Screen: In addition to selecting the projector startup screen from blue or black screens. You can use the ViewSonic logo or implement your own pictures from your computer or video source to create a unique startup screen

PC-Less Presentation: The PJD7583wi is equipped with USB connectors that allow you to use mobile media devices like memory sticks and portable drives to give packaged presentations without the need for a computer

SHOOT 3D NOW ! How to use a 3D side-by-side rig - www.3DFilmFactory.com

2011-12-19T08:48:00.000-08:00

Tune-Yards - Real Live Flesh (4AD Sessions)

2011-12-11T13:48:00.000-08:00

CART06/BARBARA FAGIOLO

2011-12-11T10:40:00.000-08:00

I met this woman at Dia:Beacon, she was very nice, we talked about the artwork and other things for thirty minutes, when she left we hugged almost in tears, the connection and the moment were lovely.

Wave Farm, Gelato Arts Salon

2011-12-11T10:31:00.001-08:00

http://gelatoartsalon.wordpress.com/category/welcome/

Someone gave me this card once....

Nam June Pak, David Zerbib

2011-12-11T10:25:00.000-08:00

must be produced negatively by eliminating information insofar as increased information means memory and diminished information means forgetting.... tekhne logos might have promised, but rather reconfigures the relationships that it can weave with its exterior. oddly enough, this leads us back to the question of paranoia, etymologically "beside the mind", the self cast outside itself like a mind beside the mind out of sync, unhinged.... input-output... to take the instrument to the point of madness... delirium as the source of a system he called 'critical paranoia'... it was a psychological condition corresponding to the recording, safekeeping and salvaging of information... but in its recovery... accessed... in his 1969 Archeology of Knowledge, Foucault famously conceived the archive as the "system that governs the appearance of statements as unique events"... knowledge is not structured in advance; it is perfomative and therefore essentially emergent.
1968 essay "Expanded Education"... "the archeology of the present"... thus the art of live memory is an archive that works by subtracting information, like a negative dialectic working against the instrumental rationality of control-freak paranoia.... Antoni Muntadas's 1994 The File Room... Anne-Marie Duguet, founder of the Anarchive series.... a digital conceptual geography... One for Violin Solo, Opera Sextronique, Fluxus Sonata... It is up to performance to activate the archive by means of its concept, its operating principle. What is recovered is the performance of the archive. If archeology can be understood, as Foucault said, as a description "of discourses as specific practices in the archival element," here it is to produce the event of the archive in the element of the artwork.

www.thefileroom.org
www.anarchive.net
www.ichim.org/ichim03/PDF/054C.pdf

Jack Atkinson Art

2011-12-11T10:03:00.000-08:00

Make a little Zine about Jack Atkinson's artwork that is passed out for free on the streets.

The Human Hand in the Digital Age The Message in the Medium Aernout Mik

2011-12-11T10:00:00.000-08:00

Aernout Mik

Max Mathews - "Phosphones"

2011-12-11T09:57:00.000-08:00

Edgar Varèse: Nocturnal

2011-12-11T09:56:00.000-08:00

Pierre Henry - Levitation

2011-12-11T09:55:00.000-08:00

Pierre Schaeffer - Apostrophe

2011-12-11T09:54:00.000-08:00

Berio- Piano Concerto (1/2)

2011-12-11T09:52:00.001-08:00

Sequenza III (1966) - Luciano Berio

2011-12-11T09:52:00.000-08:00

Boulez: "Notations I-IV" 1/3

2011-12-11T09:47:00.000-08:00

Don Cherry & Terry Riley - descending moonshine dervishes part 1

2011-12-11T09:46:00.000-08:00

La Monte Young - Fluxus

2011-12-11T09:45:00.000-08:00

Philip Glass - Sesame Street - Geometry of Circles

2011-12-11T09:44:00.000-08:00

Music for 18 Musicians by Steve Reich - Beginning

2011-12-11T09:40:00.000-08:00

Terry Riley rare footage, live in the 70s

2011-12-11T09:39:00.000-08:00

http://mikailgraham.com/terryriley/audio.htm

Kafka

2011-12-11T09:36:00.001-08:00

Joyce Quotes

2011-12-11T09:32:00.001-08:00

"A man's errors are his portals of discovery."
- James Joyce
"Better pass boldly into that other world, in the full glory of some passion, than fade and wither dismally with age."
- James Joyce
"Christopher Columbus, as everyone knows, is honored by posterity because he was the last to discover America."
- James Joyce
"'History,' Stephen said, 'is a nightmare from which I am trying to awake."
- James Joyce
"I am tomorrow, or some future day, what I establish today. I am today what I established yesterday or some previous day."
- James Joyce

"I've put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant, and that's the only way of insuring one's immortality."
- James Joyce
"Love (understood as the desire of good for another) is in fact so unnatural a phenomenon that it can scarcely repeat itself, the soul being unable to become virgin again and not having energy enough to cast itself out again into the ocean of another's soul."
- James Joyce
"Mistakes are the portals of discovery."
- James Joyce
"Men are governed by lines of intellect - women: by curves of emotion."
- James Joyce
"Poetry, even when apparently most fantastic, is always a revolt against artifice, a revolt, in a sense, against actuality."
- James Joyce
"Saying that a great genius is mad, while at the same time recognizing his artistic worth, is like saying that he had rheumatism or suffered from diabetes. Madness, in fact, is a medical term that can claim no more notice from the objective critic than he grants the charge of heresy raised by the theologian, or the charge of immorality raised by the police."
- James Joyce
"Shakespeare is the happy hunting ground of all minds that have lost their balance."
- James Joyce
"The artist, like the God of the creation, remains within or behind or beyond or above his handiwork, invisible, refined out of existence, indifferent, paring his fingernails."
- James Joyce
"The demand that I make of my reader is that he should devote his whole Life to reading my works."
- James Joyce
"Welcome, O life! I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race."
- James Joyce
"When I die Dublin will be written in my heart."
- James Joyce
"When the Irishman is found outside of Ireland in another environment, he very often becomes a respected man. The economic and intellectual conditions that prevail in his own country do not permit the development of individuality. No one who has any self-respect stays in Ireland, but flees afar as though from a country that has undergone the visitation of an angered Jove."
- James Joyce
"Writing in English is the most ingenious torture ever devised for sins committed in previous lives. The English reading public explains the reason why."
- James Joyce
"Your battles inspired me - not the obvious material battles but those that were fought and won behind your forehead."
- James Joyce

Mallarme

2011-12-11T09:30:00.001-08:00

Sea Breeze

The flesh is sad, alas! – and I’ve read all the books.

Let’s go! Far off. Let’s go! I sense

That the birds, intoxicated, fly

Deep into unknown spume and sky!

Nothing – not even old gardens mirrored by eyes –

Can restrain this heart that drenches itself in the sea,

O nights, or the abandoned light of my lamp,

On the void of paper, that whiteness defends,

No, not even the young woman feeding her child.

I shall go! Steamer, straining at your ropes

Lift your anchor towards an exotic rawness!

A Boredom, made desolate by cruel hope

Still believes in the last goodbye of handkerchiefs!

And perhaps the masts, inviting lightning,

Are those the gale bends over shipwrecks,

Lost, without masts, without masts, no fertile islands...

But, oh my heart, listen to the sailors’ chant!

Rauschenberg White Paintings

2011-12-11T09:26:00.000-08:00

Robert Rauschenberg's white paintings inspired Cage's 4'33

Carl Andre, The New Yorker

2011-12-11T09:22:00.000-08:00

ABSTRACT: PROFILE of artist Carl Andre. Although the Paula Cooper gallery shows his work regularly, Andre has not had a one-man exhibition at a New York museum since 1970, and his name, as a key figure in the development of minimal art, is no longer prominent in the critical discourse. The drought is easing, though, and it will come to an end in March, 2013, when a retrospective exhibition of Andre’s work opens at the Dia Art Foundation museum, in Beacon, New York, and then travels to a number of as yet unnamed museums here and in Europe. It is hard to think of an artist whose career has been so affected by circumstances that have nothing to do with his art. In Andre’s case, the precipitating event was the death of his third wife, Ana Mendieta, a young artist who fell from the bedroom window of Andre’s apartment, on the thirty-fourth floor of a high-rise on Mercer Street, in the early-morning hours of September 8, 1985. Andre was charged with murder, indicted, and eventually acquitted in a non-jury trial, but Mendieta’s family and many of her friends in the art community and the feminist movement believe that he was responsible for her death. For several years after his acquittal, Andre spent a lot of time in Europe, where the tragedy seemed to have no effect on his reputation. European museums continued to show his work, and sales to museums and private collectors there helped to offset the almost total disappearance of his American market. Wherever Andre was, he kept working. Andre has described himself as the first post-studio artist. He has never needed a studio, because the materials he works with—four-by-four timbers, bricks, one-foot-square metal plates, cut or natural stones, and other available hardware—are ordered from suppliers and assembled by Andre on the site. Andre does not carve, or model, or weld, or transform his materials. His great innovation was to assemble the elements of his simple, linear sculptures on the floor, without joining them together. Other contemporary sculptors had done away with pedestals and the vertical axis, but Andre’s reorientation of his work to the horizontal plane, where it functioned not as an object but, in his words, “as place,” was more radical and more influential than anything being done by Donald Judd, Robert Morris, Dan Flavin, or the other minimalist artists in the nineteen-sixties. Writer visits Andre and his wife, Melissa Kretschmer, at their apartment. Tells about Andre’s childhood in Massachusetts, his education at Phillips Academy, and his friendship with Richard Serra. Andre discusses his memories of the night Mendieta died.

Kasimir Malevich

2011-12-11T09:17:00.000-08:00

Kasimir Malevich reduced visual expression to its essential components.

EMDR, Acupuncturist

2011-12-11T09:14:00.000-08:00

http://www.emdr.com/general-information/what-is-emdr.html

http://www.nyhealingpoints.com/
Frank Vogt Acupuncturist and Herbalist
Park Slope 293 6th Ave.
Soho 73 Spring Street

madame gres

2011-12-09T14:28:00.001-08:00

random

2011-12-09T14:07:00.000-08:00

http://thebeanandthebear.tumblr.com/archive

lamp

2011-12-01T13:04:00.001-08:00

http://poketo.com/shop/living?product_id=553

to planting hanging ungrounded with a window

2011-12-01T12:52:00.000-08:00

http://poketo.com/shop/index.php?route=product/product&product_id=1221

mobile

2011-12-01T12:41:00.001-08:00

http://poketo.com/shop/living?product_id=1458

iphone case

2011-12-01T12:37:00.001-08:00

http://poketo.com/shop/index.php?route=product/product&path=37_146&product_id=1457

send a note to tell you about a party...

2011-12-01T12:36:00.000-08:00

http://sugarpaper.com/portfolio/index.php?spgmGal=wedding&spgmPic=2#?

mid cent

2011-12-01T08:48:00.000-08:00

http://www.myadventureisyouradvantage.com/home/tag/office-accessories?currentPage=6

http://www.normann-copenhagen.com/

It would be great for the wedding to have cool lights?
http://midcenturymodernfinds.com/home/?cat=4

chair, tape, to hold on/in

2011-12-01T08:27:00.000-08:00

http://grassrootsmodern.com/

http://studiodunn.com/collections/tessie-chair/

http://www.myadventureisyouradvantage.com/home/tag/office-accessories?currentPage=6

P'kolino kids stuff

2011-12-01T08:10:00.000-08:00

http://www.pkolino.com/Play-Tables-s/45.htm

Carsten Holler Tour Outline

2011-11-21T12:32:00.000-08:00

I would like to talk to Holler himself about the works, I have watched videos of him speaking, read other people talking about him, and I am left as a translator with strong ideas of my own.
Welcome to the New Museum. I would like to remind everyone of a few basic rules before we head in, please do not touch the few art objects that are not interactive, most of the show is intended to be activated by you and you will have a chance after we are through to use all the works on your own. I think it is enriching to take the tour, to learn some of the ideas, then to come back through and give each piece its due time. In order to use some of the pieces you must first sign a waiver and get a red wristband, if you want to check out the upside down goggles you do so at the desk in exchange for your credit card. Large bags are not allowed inside the museum and photographs are allowed for this show. We have three exhibitions open at the moment, Carsten Holler: Experience, open through January 15^th, next door is Spartacus Chetwynd: Homemade Tasers through January 1^st, and upstairs in the Museum as Hub on the 5^th floor is Steffani Jemison and Jamal Cyrus: Alpha’s Bet is Not Over Yet, through December 4^th. If you will all follow me we are going to continue our discussion in the gallery with the mushrooms so you can hear me better.

How many of you have been to the New Museum before? The New Museum was started in 1977 by Marcia Tucker whose philosophy was to combine a traditional museum with grassroots efforts. The New Museum does not have a permanent collection, it is set up to show new art and new ideas, it is based on a sustainable philosophy rather than a single movement. The museum will renew itself with artists and will continue to be a home for emerging concepts that question the standards of political and artistic norms.

This building opened in 2007, it is designed by SAANA a Japanese architecture firm. Chosen for its industrial elegance this building utilizes the small footprint of the museum and gives the curators adaptable gallery spaces. The exterior is covered in an aluminum mesh that changes with the times of day. Inside there are skylights or windows on every floor, this gives an uplifted airy quality to the practical materials. The vertical model was necessary and inside the space is used economically, for example the freight elevator and fire stairwell is appropriated for public use, but the galleries are tall, we could have put in more floors and added wall space into the structure but it would have dissolved the ability for grand displays.

After 9/11 the museum wanted to keep its home in Lower Manhattan. The choice of the Bowery is in keeping with the history of the many artists who had their studios or homes below Houston where the rent was cheap. Even now the museum is changing the landscape of the Bowery, galleries are opening, fancy clothing stores are cropping up next to family run pizza joints, and so the dialogue about what is progress is very much alive.

The New Museum tries to exhibit artists who are well known abroad but who have yet to be recognized in America. This is the first New York retrospective of Carsten Holler and it covers about sixteen years of his work. Carston Holler was not trained as an artist, he has a PHD in Entomology specializing in communication systems among insects. This exhibition is a test site as much as it is a gallery space where you are placed in situations that hopefully suspend your equilibrium and give you slight sensations of madness. These trials are both entertaining and moralistic, so on today’s tour we are focusing on how these tests subtly draw awareness to the fragility of human perception.

Our gallery spaces have been re-imagined to create moods. This is similar to when you walk into a movie theater just as people are exiting and you see the look on their faces. You have a sense of what you might be getting into, a pervasive atmosphere has descended on all of them, each one has a different expression, they process the information in their own way, but never the less, everyone exits affected. Holler is interested in that transition, the way we are all moved in similar ways to situations. It is remarkable with how much we struggle to get along, to abort our loneliness, our isolation, that we have more similarities with each other than differences. We are all working from these bodies that yield endless repetitions in human behavior. Marketing exists because the bum on the corner, Liz Taylor and the President can all drink the same coca cola and enjoy it as Warhol said. Holler creates elaborate scenarios that we activate to make democratic experiences where no one misses the show.

These settings grab our attention. He takes the artwork off the wall and makes it physical. The mushrooms that we are standing next to are sized in relationship to our bodies. We are not only moved by the sight of them but are shaped by their material stance in the room. They conjure up narratives in each of us. What do you think of when you look at these? Alice in Wonderland, fairies, gnomes, fabricated mythological creatures and stories that invite us to remember the wonder and playfulness embedded in each of us from childhood. The way the sculptures are placed controls our pattern of using the space. We are conducted by their material and by what they represent.

Magical wonderlands such as these are given to children all the time, but the mushrooms are a reminder that most of our experiences take place inside altered, crafted, dream-spaces of human invention. Most of us live our lives jumping from interior location to interior location, home, subway, work, subway, home, repeat, all of these are created by someone to alter our behavior and change the way we function. Not only are the environments false but we are incapable of perceiving objectively. We constantly wonder through half created worlds around us and in us. Subjective and objective, art and science, are in direct conversation with who we are, with the interests and curiosities that define humanity. We examine everything through a limited skill base, and we are all agreeing based on similarly trapped perspectives. Even when we are learning facts they are processed by our unique and imaginative psychologies. These narratives of our environment are conjured through imagination and the physical effects of belief. Placebos have proven the force of our minds to play tricks on us, so maybe the suggestion presented in this room is a subtle medicine pulling from a collective mythology to alter and layer the space.

The weight and magic of imagined realms relates to the shamanistic use of the mushroom. The Amanita mascaria grows naturally in Eurasia and reportedly was used by shamans in Siberia. You can identify these mushrooms in the wild not only by their red and white tops, but by the bulbous bottoms that distinguish them from their poisonous sisters. The mushrooms are spliced as though one could collage with nature. The dark black mushrooms with thin steams allegedly have great flavor. What if we could create a delicious tasting psychotropic meal? It is good to remember the line between scientific inquiry and its roots in playfulness.

Many of these works are about taking the viewer out of the driver’s seat so we stop analyzing and start reacting, activating, playing and succumbing. Normally when we stand in front of an artwork such as Monet’s Water Lilies we become contemplative, we hopefully slow down to absorb the language and voice of the work, which is an individual experience. We go to museums to essentially be with ourselves. Not alone like when we are exhausted on our couch, in front of a great work we are stimulated, and inspiration is a mirror that points towards our individual subjective identity. The upside down glasses passed out at the desk allow for a different take on this individualized viewing experience. By watching our environment upside down the art object transforms from observing an object to an investigation of how the guide of our eyes changes the capability of our bodies. Normally light reflects off of an object, enters the eye where it is received as an upside down image to be flipped right side up by the brain. While wearing these goggles the brain is constantly trying to correct the error. There are many ways that our brains fill in gaps for us, such as how you can see something out of the corner of your eye, and before you have the full information your brain has given you an answer, and sometimes that answer is completely absurd. These glasses are playing with this struggle. Because we can’t wear the glasses at this moment I have brought another way for us to explore.

Cover your right eye and look at the number one with your left eye. Go down the numbers and around four the gap between the stripes should be filled in and around seven it should return.

Can anyone tell me what the optical trick of the Zollner stripes is? Exactly, the stripes appear to not be parallel because the cross hatching’s angle plays with our eyes. When we look at the stripes it is easy for us to recognize that our senses are duping us, and its fun. Here the struggle with what we see verses what we acknowledge as true is very clear. We can see reality and deception in the same instance. In some ways this show wants you to stop conceptualizing and start being, it is an attempt to shake you of your notions and remind you of the things that make you human. Our bodies are our first and last language, yet habits allow us to stop thinking about our basic functions.

There is an industrial repetition at play, everyone who looks at the stripes is processing the same information, but how they adapt, react, is different, subjective. The artwork is not the stripes, all these works are tools, established rules, set ups for a joke, or a game, a struggle without practical purpose, where the end result is to transform us, make us check in with our animal nature, and remember that we are restricted. Every system, be it the language of math, science, or art is a limited expression in the midst of a larger truth.

Try to imagine the infinite and you will start to see yourself, or look at yourself and you might start to doubt everything. In the larger concepts, such as what we know about the natural world, we start to recognize our receivers, the limitations of our knowledge. The childlike atmosphere generates playful wonder and curiosity within the confines of set activities. By drawing attention to the roadmap of our senses, we can at least admit to our inadequacies and make allowances for them.

We can look at the stripes and doubt our perception in a way that is entertaining. In general Holler examines our mental capability through tools of play. The way a child spins around until they fall over in order to make everything keep moving after they have stopped is the M.O. of a lot of this work. On the first floor the art shakes our most dominant sense, vision, but let’s go upstairs to the fourth floor where Holler investigates transportation.

(Elevator)

One of these twins actually works at the New Museum’s visitor service desk. I run into her sister all the time on the train and twice I have started up a conversation mistaking her for her twin. In these looped videos the sisters go back and forth repeating and negating each other as though in and out of sync, watching them we too get drawn into the similarities and differences that define the way they look and maybe how they act.

(4^th floor).

We are going to talk in the corner so you are able to hear me. The most famed piece in the show is the slide. I think it is fun to leave the Alice and Wonderland mushrooms and to come up here to a magic rabbit hole entrance. This slide is unusual compared to other ones he has made at different institutions, as if you were Alice, you can’t see where you are going, you just let it take you. You entrust yourself to the safety of the machine and end up on the second floor in a whole new and unknown environment.

Holler’s whimsical devise is meant to alter your state. I personally am easily frightened and it took me a couple tries to actually force myself to slide down the tube. Not everyone is going to have the same reaction; in fact many people are thrilled at the top of the ride. As humans we are constantly surrounded by anxiety but very rarely are we forced into situations where we have to conquer our bodies. It reminds me of rabbits or deer who constantly live their lives running from potential threats; they live in a constant fight or flight mentality. Especially as adults we control so much of our environments, and while safety is the ultimate goal checking in with our mortality is important to compassion. Being vulnerable is an entrance into understanding that we are not invincible, nor is anything or anyone else. The slide for some is a joyride, and I have to admit that I jumped up and down when I got to the bottom. This is what Holler wishes we had instead of stairs, a rush. How different would we be if once a day we put ourselves through an exhilarating experience where we lose control? What do you think, would a small joy ride everyday help people? Is this point profound or moot?

Our slide at the New Museum is 102 feet long, and takes about five seconds to shoot around the 45% degree curves. An interesting point about these works is where the art starts? What is the spectatorship that Holler is most interested in? What would you say? Is the work viewed most accurately when you are watching, or riding? Or is the slide just a tool for the artwork which is created by the unique adrenaline rush that fills each spectator, the chemical change before, during, and after the experience of the slide? What do you think?

It can be noted that Holler did not invent the slide structure. Nor did he invent the Zollener stripes, and the upside down goggles were created by George Stratton to study perceptual adaptation in the 1890s. If Holler is appropriating objects, similar to Duchamp who is famous for signing the toilet and coining the phrase ready-mades, then where does the artwork exist? Though this is a very visual and physical show it is also conceptual, the body speaking through reaction rather than the contemplative passivity of watching a stagnant object.

We all approach the same tools, we all slide down the same slide, but my experience will be subjectively different than yours. I imprint the object with my own narrative because the artwork exists not only in front of our respective eyes, but by the changes it makes in me. This is art in a nutshell. What artwork was ever created that was not intended to convey meaning? The artist creates in order to speak through a visual language and transmit the final message into you, the viewer. The ideal Holler presents is not the perfect David, but the vulnerable audience, our ability to react is essential to our nature beyond any concept of perfection or truth.

The thought processes of animals are unknown to us. Their mental states have been pondered by philosophers and children alike for a very long time. Maybe the key to understanding them is to not think like a human, not to sculpt solutions, regiment pathways that can be repeated by their logic; sometimes the only way to understand is to imitate, to be like the animal, to adapt.

Some people have compared these machines to scientific experiments where the result is never the same. Maybe our only entrance into knowledge is through the door of doubt. Doubting the extent of what we can know. Doubt that we have the right solution, doubt that history repeats itself. To do something the same way we have done it before, to let it yield the same results, and to wonder what has changed, even on a finite level, because the curiosity of science and the mystery of art are necessary for us to advance as a society. So why put a slide in a museum? Maybe because museums are one of the few places we can look at the same old thing and see it in a different light, including ourselves. We submit to Holler’s tools, and that is also human, a desire to test and play, to be curious, to find out how we are unique and what we have in common.

Unlike the solo journey of the slide, eight people at a time are allowed to ride the mirrored carousel. Name something that is unusual about this carousel? Name anything at all. It is reflective and it is moving much slower than a normal carousel. Both the carousel and the slide have to do with transportation, both move through space and hopefully change how you think while you participate. While the slide rushes you down to the second floor the carousel doesn’t take you anywhere and that is the point. The room reflected on its surface slowly rotates for you. You are the center of the world, and because nothing much is happening all you can do is watch. The expectation of a ride is that it is going to dazzle you, thrill you, but here we just slowly wander in circles as though we were floating in a stream or a brook. You can even here the chirping of birds, which brings us to the final artwork that we are going to discuss today, the mobile with singing canaries.

Canaries don’t exist in the wild; they are an extension of human behavior. They can be breed for one of two traits, how they look and how they sound. These canaries are breed for the way they sound. In the same way that we breed dogs for personality, and poodles are not roaming in the wild, these birds exist as they are because of our desires. Why do birds sing? If a bird is farther away from another bird will it sing louder? The polls for these cages are measured mathematically through acts of division, breaking each length into its halves. If you were to keep dividing you would go on for infinity. The birds are placed in a mathematical relationship to one another which dictates their song and the movement of each cage. Every time a bird flies the cages shift weight, they are in communication with one another vocally and materially.

The beauty of animals is their mystery. They are something that is so close to how we are but completely unknowable. We can watch them and they us but we will never be able to crack the case, and our lives are consumed with them, we eat them, love them, observe them. They constantly demand that we are more considerate, that we treat the gaps in our vision with a band aid of curiosity and not authority. That we keep growing by accepting infinity, that we wonder rather than dictate and mainly that we keep testing ourselves to stay kind.

That is all for our tour today. Thank you very much for joining me.

Thalia and Reproduction

The Legend of Leigh Bowery (1/6)

Orpheus and Eurydice

Irrelevant objects could become powerful emotional objects that affect the way you want to be seen by others.

I will always love you she said, and she left us with music. I wish you all a pleasant day, productive, and easy day. I will always love you, she said, and she left us with music. None of this, any of this will protect you from the inevitable. –A man on the 14th St and 6th Ave. platform

Richard Feynman Lecture 4 Part 1/7: Problems in QED and The Standard Mod...

The Dalai Lama and Quantum Physics 1/6

Eva Respini and Boris Mikhailov in Conversation

A Conversation with Boris Mikhailov

Orphee et Euridice - Pina Bausch

Gluck: Finale (Orpheus und Eurydike)

BIS:Maria Callas sings "O mio Babino Caro" in Amsterdam in 1973 720p HD

http://biology.clc.uc.edu/fankhauser/Labs/Anatomy_&_Physiology/A&P202/Brain_Dissection/brain_dis_jpgs/10_lift_brain_P1141732md.JPG

two great shows at under the radar festival in NYC 2012

Nature Photos by Walter Kitundo

The Kresge Foundation

shoelace design

grow a tree home

Jack Rose - Kensington Blues

Philippe Decouflé

Philippe Decouflé

Weightless by Erika Janunger

Analogia Inusual - Sasha Waltz

Duende - Silhouetten - Oerol 2007

Judy Garland - Swing Low, Sweet Chariot (Everybody Sing, 1938)

Love Diamond by Miranda July

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