Still from There was a dream… by Sara Rajaei.
This weekend Stiftelsen 3,14 offers a four day video screening program with works by Sara Rajaei, Cynthia Marcelle, Elena Kovylina and Eva Ljosvoll. All four artists have exhibited previously at 3,14, and this is an opportunity to see more of their more recent works.
Three of the works are world premieres; Égalité Bergen by Elena Kovylina, based on a performance at Festplassen in Bergen December 6 last year, Ikke alle dørene er lukket by Eva Ljosvoll, and there was the dream and there was a memory connected with it by Sara Rajaei.
In addition three works by Cinthia Marcelle are presented; 475 Volver, ao plano and O século, and one additional work by Sara Rajaei; 1978 the 231st day.
I have co-curated the two works by Sara Rajaei for this exhibition. Yesterday I also helped Eva setting up a Mac for the screening of her work. Based on what I’ve seen so far, it is well worth taking the trip to 3,14 over the next few days.
When God invented programming, the devil came up with AppleScript.
I have just been setting up two macs to play QuickTime movies fullscreen for an exhibition opening tonight at 3,14. I am using AppleScripts to ensure that video playback starts once the computer is booted, and that video plays back in fullscreen with looping.
The AppleScript I blogged some years ago works just fine on one of the Macs, but on the other one the movie refuses to loop and go fullscreen. This is with the same script, and same version of QuickTime.
Having googled around for quite a while, trying different variations on AppleScript syntaxes for QT 7 and QT 10, I finally found the scripts that bijazzard has posted to GitHub. His script for QT 7 is the exact same as mine, but his script for QT 10 saved the day.
I’ve uploaded the script here in order to make sure I have it for the next rainy day.
Over the past few weeks I have received several questions regarding how to set up a Reaper project to work with first order ambisonic using the ATK for Reaper plugins.
I have just uploaded a screencast that I hope will help explaining this.
This is probably trivial to more seasoned C++ developers then me, but I just managed to set up OSC communication from an iOS app to Max. The iOS app uses Cocos2D and the oscpack library by Ross Bencina.
This is an important first step towards being able to prototype sound design for an iOS game that Stian Remvik is currently developing.
It also gives me some ideas about the next steps forward in order to be able to use the JamomaCore C++ libraries for DSP processing with OpenFrameworks and iOS apps.
EXHIBITION, VISNINGSROM USF, BERGEN
Opening Friday 5 December 18.00
Exhibition dates 6 – 14 December
12.00 – 17.00 daily except Monday
3 video and audio installations:
2 channel video installation & 12" vinyl record)
Lossius & Welsh
The Atmospherics part 2 (flags, flames, smoke and bridges)
3 screen video and 16 channel sound installation
HD video on LED monitor
This exhibition continues the close collaboration between all four artists, developed during the research project Re:place at Bergen Academy of Art & Design & Oslo National Academy of The Arts in 2012-2013.
Supported by: Norsk Kulturråd, Bergen Kommune, Billedkunstnernes vederlagsfond, BEK (Bergen senter for elektronisk kunst)
Révolution Périphérique (2010) consists of two video recordings made on the circular motorway surrounding Paris, one recorded in each direction (clockwise and counter clockwise). The piece continues Bull.Miletic’s exploration of the cinematics of the mobile gaze, a theme they have developed through many collaborative works. They use the term “Cinéma Trouvé” to describe their working process – whereby they use existing systems such as the automobile, subway train, elevator, revolving restaurant, etc, to “animate” the gaze of the camera. As in the work of many French auteurs and film theorists, they are interested in the dispositif – the apparatus and mode of production that is intrinsic to their aesthetic and to the construction of meaning in their work. The two-screen video is accompanied by a 12” vinyl record whose grooves are concentric loops rather than spirals. Once it starts playing, the record player’s needle is stuck in the same groove, circulating endlessly and at the same time moving toward entropy as dust accumulates and the vinyl is progressively worn away.
The Atmospherics (2014) is an ongoing collaborative project by Trond Lossius and Jeremy Welsh, based on field recordings made with surround sound and HD video. The first iteration of the project was exhibited at 3,14 in Bergen in November, under the title “The Place Sound Builds In Passing”, where the exhibition included live improvisations inside the installation by musicians from the ensemble Bergen Barokk. During summer and autumn 2014, Lossius and Welsh have made recordings in Sogn & Fjordane, Hardanger, Nordhordaland, Bergen Vest and Sotra. Elements of audio and video from these locations are combined within the installation, which does not aim to be a literal depiction of a given place, but rather constitutes an exploration of the abstraction of a “sense of place” through juxtaposition, distancing and the manipulation of ambience or atmosphere. The project has been supported by Bergen Kommune, Norsk Kulturråd, Billedkunstnernes Vederlagsfond and BEK (Bergen Senter for Elektroniske Kunst)
Tracings (2013) was realised within two parallel research projects at Bergen Academy of Art & Design: Re:place and Topographies of The Obsolete. and was first shown in the exhibition “This Must Be The Place” at Kino Kino, Sandnes, in October 2013. The material was recorded at the site of the former Spode ceramics factory in Stoke on Trent, England. Imagery was collected in various parts of the factory complex. The material that was finally used in “Tracings” was recorded in one of the oldest mould stores at the site – a building containing plaster block moulds which were the “originals” for many of the company’s renowned products. The objects are steeped in history and resonate with accumulated knowledge and memories – but at the same time are dormant or suspended in time. Layers of dust, mould spores growing on the moulds themselves, partly discernible inscriptions on the surfaces of the objects – all of these are traces from which one might construct a narrative around the disappearing history of this site and its former production.