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"Cycles of 3s and 7s is a doubled statement. First and foremost, it is a commentary on computer art and the role of computers in video. Secondly, its arithmetic project has some bearing on the construction of musical scales. In reclaiming the computer as a performance instrument, I intended that the human operator must compete directly with the computer, doing what the computer does best. The selection of a simple hand calculator was a deliberate denial of the computer aesth/ethic of bigger, faster: computer art must be doable within even the most modest architecture. Cycles of 3s and 7s shows that it is not the answer that 'counts,' but the pleasure in getting there. Simple rote calculation is turned into rhythm and song; accuracy of gesture and count become a game. These are 'stories' about numbers, the kind machines should like to hear and tell—if they 'liked.' The 'stories' here are calculated approximations to 1, each having the form
In musical theory, the prime numbers 3, 7, and p are harmonics, and a just-intonation interval scale with equal steps requires approximations of this form. For instance, our twelve-tone scale depends upon the approximation"i j -k p x 3 x 7 x 2
—Tony Conrad12 -19 3 x 2 = 1.0136
Kelley's carnivalesque opus is a genre-smashing epic in which vampires, dancing Goths, hillbillies, mimes and demons come together in a kind of subversive musical theater/variety revue. This riotous, feature-length theatrical spectacle unfolds as an episodic series that forms a loose, fractured narrative. The video comprises parts 2-32 of Kelley's multi-faceted project Extracurricular Activity Projective Reconstructions, in which trauma, abuse and repressed memory are refracted through personal and mass-cultural experience. The source materials are high school yearbook photographs of "extracurricular activities," or what Kelley terms "socially accepted rituals of deviance." Kelley then stages video narratives around these found images. Here these restagings take the form of "folk entertainments" that Kelley memorably subverts.
In May 1972, Matta-Clark worked on an abandoned pier in New York for two months, where he cut sections of the door, floor, and roof.
"Death of a Marriage I think is my first psychodrama – finding images and filmic methods of portraying my interior emotional being. I had built by hand with my husband a home in the woods, made my own horse corral, and had an art studio. Yet the alternative lifestyle didn’t erase the feeling of entrapment, proscribed role, and constrictions. Yip, yip and away!" — Barbara Hammer
In Decision Fatigue Harris-Babou’s mother stages an intimate, absurd, occasionally painful makeup tutorial tracing the choices she has made in her life, both large and small, to hold onto youth and remain well.
Deep Blue Sky is a witty game of association and juxtaposition. In this silent motion drawing or "structure," Weiner engages in visual and linguistic play. The interaction of Weiner's elliptical text and graphic symbols - which suggest stylized tic-tac-toe boards - allude to the relationships between artist/viewer and language and perception: "That of which there is no trace does not enter into the equation."
"Dérive Veneziane is about Venice. Cities are sometimes represented by strong stereotypes or clichés. Dérive Veneziane tries to show another side of the city, the hidden, the unknown, the mysterious. Through a journey based on the Situationists’ dérive, by night and from a boat… Dérive Veneziane bri...
Hershman Leeson aired advertisements on television seducing viewers to respond. Those who replied to her ads were interviewed about their desire to meet another person under the guise of fantasy, the footage from these interviews woven into a narrative about the nature of desire.
