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| OCTOBER - NOVEMBER 2000 | |
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Jody Zellen's Ghost City. A website that focuses on the representation of the city by the mass media. It uses the space of the web as a sculptural space, allowing viewers to interact with animated graphics to delve deeper and deeper into an imaginary city. 2000. United States. |
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Motomichi Nakamura's Qrime. Many of the fundamental motives behind the social problems of violence in primitive societies seem to be still effective in our time. By depicting each theme from an aggressively new, digital visual style our goal is to relate the contemporary viewer to the inalterability of his own humanness. 2000. Ecuador. |
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Oksana Chepelyk's Evidently Inevitable. . A video showing only the macroplans of a girl's face telling about her first sexual experience.2000. Ukraine. |
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Judy Haselhoef's Respectus . An 8-minute video that documents the interaction between 40 grade-school children and five senior citizens in the community of Metamora, Illinois. Its subject matter, respect, is a human behavior that often eludes us and, yet, understanding its concept transcends geographic boundaries. 2000. United States. |
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Alysse Stepanian's The Field. Stepanian writes "The Field evolved from a dream in which I encounter myself and someone from the past in a field. By invading my body I connect with the outside world, and by encountering the 'other,' I understand myself and realize experience."1999. United States. |
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Paul Goodman's Mirror Images. In this type of sound composition, Goodman writes, the "sound material can come from anywhere, regardless of its origins as long as it is expressive and its technical quality is acceptable....The sounds were conceived of as "magnetic fields" (in the sense in which Andre Breton and Philippe Soupault used it) which held aural and visual associations. The sound fields overlap each other and therefore by operating upon the one we could lead it in the direction of other sound fields creating associative complexes."1999. Netherlands. |
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Gary Setzer's Untitled. While the history of art is sure to provide abundant examples of how potraiture can be explored with color and line, this humorous video suggests an alternate (and rather unorthodoxed) methodology for "composing" the contours of the face. 2000. United States. |