Boston Cyberarts and the Together Festival presents
Friday April 6, 6:30PM
Atlantic Wharf, 290 Congress Street Boston.
Sometimes referred to as this generation’s Eno, Keith Fullerton Whitman is one of those innovators and visionaries who produces an endless variety of challenging, unexpected work. Presented in conjunction with Spectral Rehab and Atlantic Wharf, KFW is known, on the one hand, for creating process-generated musical structures and avant-garde explorations of ambient sounds and electronic music history, and on the other, for virtuostic live improvisations and experimental work with the most fundamental of samples. Always precise, always challenging, he will be joined by Twells and Christensen, whose collaboration Coasts is a long-form experiment in drone and atmosphere. DJs John Twells and Ian Lawrence in between sets all night.
This is the final concert in Boston Cyberarts’ Cybersounds series at Atlantic Wharf.
Boston Cyberarts presents its third and final exhibition in Atlantic Wharf’s dedicated art gallery with Mixed Signals,an exhibition of art that uses to technology to re-present sensory information, curated by George Fifield and Heidi Kayser. Mixed Signals presents seven artists – Rebecca Baron and Douglass Goodwin, Katie Davies and Dr. Peter Walters, Ben Houge, Georgina Lewis and Martin Wattenberg – who make art that uses technology to reinterpret sensory information in an innovative manner, making sound visible, using sound to remix visuals, and visualizing underlying patterns. On view at Atlantic Wharf, 290 Congress Street, Boston, from February 27 through April 13, the exhibition is free and open to the public. An Opening Reception for the show will take place on Friday, March 16th, from 5-8 pm.
In Rebecca Baron and Douglas Goodwin’s Lossless series, (2008) the “materiality” of the digital becomes the source-code for experimental execution. The artists’ renditions of appropriated films are not “lossless” (i.e. a copy of the original in which nothing is lost), but rather gainful: through various techniques of digital disruption – compression, file-sharing, the removal of essential digital information – the artists reveal the gain of a “new” media, full of material forms ripe for aesthetic sleuthing. In Lossless #5, a water ballet crafted by the famed Bubsy Berkeley is compressed to represent one series of highly choreographed visuals in a painterly, fluid and organic mitosis.
Katie Davies and Dr. Peter Walters’ Vela, (2011) (shown above) is a sculpture created through the transformation of astrophysical data into tangible three-dimensional form. The sculpture is 3D-printed from a signal, detected by a radio telescope, which emanates from a distant star – a pulsar – located in the constellation of Vela, some 950 light years from Earth. The signal has been transformed through a process of metamorphosis that exploits audio processing, 3D modelling and rapid prototyping technologies. The resulting 3D printed sculpture is a translation of the signal from the pulsar – a 3D manifestation of the pulsar itself, and a direct translation of sound into visual representation.
Ben Houge’s 29 Giraffes (2009) is a selection of algorithmically generated digital prints, created using a custom computer program to reshuffle snippets of photographs into kaleidoscopic new constellations. Houge developed a computer program which breaks down sounds and restructures them into different forms. In 29 Giraffes, this program is applied to visual images of Nanjing Dong Lu, Shanghai, China, at night, and the series gives a visual representation of how sound can be restructured.
Martin Wattenberg’s series The Shape of Song (2001) began as a quest to “see” musical form. Wattenberg created a visualization method called an arc diagram that highlights repeated sections of music–or of any sequence–with translucent arcs. Each arch connects two repeated, identical passages of a composition. By using these repeated passages as signposts, the diagram illustrates the deep structure of the composition. The resulting images reflect the full range of musical forms, from the deep structure of Bach to the crystalline beauty of Philip Glass.
Georgina Lewis’ something mechanical in something living (2011) documents her astoundingly unsuccessful attempt to “train” Dragon system’s speech to text translation software. The title of the piece is taken from a work by Henri Bergson – Laughter: An Essay on the Meaning of Comic. Following several minutes of misinterpretations, Lewis began to laugh. The microphone continued to record her sounds and the software struggled dutifully to interpret the apparent words. The more the resulting text was read, the harder she laughed, becoming a self-generating humor machine. The piece is presented as text on the wall- a visual representation of a technological attempt at translating one sense to another.
Boston Cyberarts presents its second exhibition in Atlantic Wharf’s new dedicated art gallery – Vast Vistas: Landscape in New Media, an exhibition of work by four artists – Julia Hechtman, Georgie Friedman, Jane Marsching and Luke Strosnider. On view at Atlantic Wharf, 290 Congress Street, Boston, from December 12 through February 10, 2012, the exhibition is free and open to the public. An Opening Reception will take place on Friday, December 16, from 5-8 pm.
Landscapes are more the product of culture than nature. When artists try to reproduce the world in its natural state, they create a vision of how they wish nature would be. This is as true of the Hudson River School as it is of Ansel Adams. How does new media reflect the natural world? One would think that the most technological of art forms would not be a good fit with nature, but as the artists in this exhibition illustrate, new media can reveal an undiscovered depth to nature that a painting, for instance, cannot.
Julia Hechtman’s Quadrants is a single-channel video that composites two separate videos into one with four fields. Two of the fields show a figure sitting, facing the camera. The two others show a figure, back towards the camera. The end result is a contemplative space, where the real focus is on the grace of the seabirds who fly around the edge of the fields, and the sound of a waterfall, barely visible in the distance.
Georgie Friedman’s Geyser, a two-channel piece of different views of the same geyser are intentionally not synchronized, and the full scene is never revealed. In one, we see the crusty base: the water grows, quivers, rises, falls, until it suddenly surges and bursts filling the frame with whitish-blue water, only to start the process again. In the second, the frame stays focused on the sky. Clouds shift and pass, then, without warning, water shoots up either in one big explosion or in a quick succession of smaller outbursts. By dividing this one location and separating the linked events, time becomes fragmented and new relationships between expectation, anticipation and reward are created.
Jane Marsching’s Arctic Listening Post, Future North: Ecotarium and Rising North imagines our future in the next hundred years after irreversible climate change. Massive migrations of urban populations will move north to escape severe flooding and increasing temperatures. Areas inside the Arctic regions will warm up significantly, making their occupation newly desirable. In this animation, entire cities float away from their flooded moorings and meet in a new North, reimagining the entire surface of our planet in the future – subtly warning us about the present
Luke Strosnider created Ansel Adams | New Landscapes, (from his artist-book Ansel Adams | New Landscapes) by scanning many of Adams’s most powerful images of the American West and then generating their histograms in Photoshop. He then chose those histograms for visual forms that reinforced traditional notions of landscape in the original pictures. Photoshop has remediated Ansel Adams’s brilliant Zone System, and the precise control offered by both are closely related. The histograms of his landscapes form a two-way bridge between eras of photographic practice and remind us that as our technologies of expression rapidly evolve, it is vital to consider our image-making tools as much as we do our images.
“exquisite…attractive and deeply personal creations.” – New York Times
“magical… resonant.” – Village Voice
On November 30, Bora Yoon, multiple instruments, computers and voice, brings her enchantingly unique sound to Boston.
Bora Yoon an experimental multi-instrumentalist, composer and performer, who creates architectural soundscapes from everyday found objects, chamber instruments, digital devices, and voice. Yoon who’s been featured in WIRE magazine, and on the front page of The Wall Street Journal for her musical innovations creates a type of performance art that is part radio foley, part sound design, and part gesture exploring where sound connects to the subliminal and its performance environment through the timbres of the human voice, viola, water, Tibetan singing bowls, radios, cell phones, metronomes, music boxes, glockenspiel, guitar, found sounds, custom-built instruments, electronics, and antiquated audio technology.
Yoon’s appearance will feature the Boston Premiere of ( (( PHONATION )) ) – “a shatteringly beautiful performance,” according to Feast of Music. ( (( PHONATION )) ) is a multimedia solo performance by Bora Yoon with live video manipulations by Luke DuBois (BitForms Gallery) exploring where sound connects to the subliminal using found sounds, new and antiquated instruments, electronic devices, and voice.
R. Luke DuBois is a composer, artist, and performer who explores the temporal, verbal and visual structures of cultural and personal ephemera. He holds a doctorate in music composition from Columbia University, and he has collaborated on interactive performance, installation, and music production work with many artists and organizations. An active visual and musical collaborator, DuBois is the co-author of Jitter, a software suite for the real-time manipulation of matrix data. He appears on nearly twenty-five albums both individually and as part of the avant-garde electronic group The Freight Elevator Quartet. He currently performs as part of Bioluminescence, a duo with vocalist Lesley Flanigan, and in Fair Use, a trio with Zach Layton and Matthew Ostrowski.
290 Congress Street
Curated by George Fifield and Heidi Kayser
Boston Cyberarts inaugurates Atlantic Wharf’s new dedicated art gallery with an exhibition that examines the many ways of seeing in New Media. BEHOLD: Sight in New Media presents four artists who either make art that looks at or reflects us, or who use new ways of seeing to examine the world afresh.
Daniel Rozin’s Mirror no. 10 – sketch Mirror (2009) analyzes the image of the viewer deriving information about colors, detail, contours and change, and attempts to create a sketch of the viewer, just like a portrait artist would. Just like a portrait artist, it pays more attention to areas of great detail, and leaves the boring areas blank, or describes them with broad strokes. Also like a portrait artist the sketches tend to emphasize traits of a person, creating somewhat of a caricature, enlarging pointy noses and chins, making big smiles even bigger. The process is animated and the squirming lines give the piece a joyful but somewhat restless feel.
Golan Levin makes art that looks at us. Eye Code (2007) captures our own eyes between two of our blinks in a grid of eyes. Double-Taker (Snout) (2008) presents documentation of a marvelous eight-foot long mechanical creature that actually follows the movements of passersby with his cyclopean eye.
Sheila Gallager’s series of prints Hand/Eye (2006) uses the Eye Tracking Lab of Boston College to record her own eye movements while she looked at images of women athletes. The resulting prints are a record of the act of drawing with her own eyes.
David Rokeby’s San Marco Flow (2005) looks not at the present but the immediate past. In Venice’s famed Piazza San Marco, we only see what has just moved, things that are not moving are invisible. Walking pigeons leave worm-like traces. Gathered people abstract themselves through their shifting motions. Tour groups flow across the image like a river.
The exhibition dates are October 10 through December 4.
An Opening Reception for the show will take place on Friday, October 21, from 5-8 pm.
Free Electronic Music Concerts on Boston’s Waterfront
SEPTEMBER 28, OCTOBER 26, NOVEMBER 30, JANUARY 25
6:30 – 8:30PM
Boston Cyberarts is partnering with Atlantic Wharf to present Cybersounds, a new series of free concerts bringing some of the leading artists exploring the creative and cultural potential in the convergence of music, sound and technology to Boston’s Waterfront. Held the last Wednesday of every month from 6:30-8:30pm, either outdoors along Fort Point Channel or inside Atlantic Wharf’s stunning Waterfront Square, the series is curated by Dan Hirsch, director of music programs for ArtsEmerson and Eric Chasalow, professor of music and director of the Brandeis Electro Acoustic Music Studio.
Here’s the line-up:
September 28: Oneohtrix Point Never (aka Daniel Lopatin) and Friends
October 26: Todd Reynolds and Michael Lowenstern
November 30: Bora Yoon
January 25: TBA
Relax with a delicious drink and fabulous food from one of the area restaurants and listen to sounds created by some of the coolest electronic musicians in the country. Framed by the buzzing harbor and the new Rose Kennedy Greenway, Atlantic Wharf is the Waterfront District’s center of activity. Located at 290 Congress Street, Atlantic Wharf is just steps from South Station and has ample parking facilities on site.
Download the press release for more details.
Contact us at firstname.lastname@example.org or 617.524.8495.