"The Process Tapes are video art pieces: lens based, electronic based, video, electronic, analog and digital television. 

By the late 1960’s, new art discourses with names like 'conceptual art' and 'process art' were radically proposing the dematerialization of the art object. These real time video synthesis pieces were part of this vision. Now when looking at these works, these investigations of the transformational image in late 20th Century art, I am struck by their seriousness, jocularity and irony in being both inside and outside illusion.

In the beginning was the weave, and the transmission of its workings, a curse of mortality—so ends Quantum Creole with the fabulous words of the Papel weaver, Zé Interpretador.

RECKONING 4 is the second in a series of investigations into (among other things)

Flesh meets robotics in this early video documentation of Survival Research Laboratory’s spectacular exhibitions of collective invention, anti-corporate technology, and satirical mass destruction. In the performances documented here, various animal corpses are integrated into the action as the clawed and spiked machines attack dummies, each other, and, occasionally, the audience. The video begins with the song Stairwell to Hell, an appropriate prologue.

Taking its title from a sound design maxim and using it as a conceit to grasp the desire for connection, See A Dog, Hear A Dog probes the limits and possibilities of communication. In this liminal cinematic space, the fear of conscious machines is matched with a desire to connect with nonhuman entities. Algorithms collaborate and improvise. Dogs obey/disobey human commands, displaying their own artistry and agency in the process. Technology, from domesticated animals to algorithmic music to chat rooms, reflects human desires but has its own inventiveness.

A collage of informal interviews and short clips, this collection of material comes from guerilla TV excursions at the 1976 Democratic National Convention. Conducted off hand, usually amidst crowds of other journalists, the footage oscillates between slight antagonisms, genuine interest, and tongue-in-cheek play. The sheer breadth of participants being engaged with, however, is quite impressive as the soon-to-be First Lady, Jesse Jackson, David Dellinger, Bella Abzug and Jerry Brown all make appearances.

"Love at first sight, one night, down at Silverror’s Saloon!" Mickey R Mahoney and jonCates direct Silverror’s Saloon, the next film in the 鬼鎮 (Ghosttown) Glitch Western series of films and games. Written by Emily Mercedes Rich and jonCates, this experimental film queers, glitches, and questions the Western film genre. We encounter characters caught in a glitched cinematic magic moment: a love scene. First dance with a stranger. Home and far from home.

"Love at first sight, one night, down at Silverror’s Saloon!" Mickey R Mahoney and jonCates direct Silverror’s Saloon, the next film in the 鬼鎮 (Ghosttown) Glitch Western series of films and games. Written by Emily Mercedes Rich and jonCates, this experimental film queers, glitches, and questions the Western film genre. We encounter characters caught in a glitched cinematic magic moment: a love scene. First dance with a stranger. Home and far from home.

The Sky Is Falling... is part of an ongoing series of performances that make up The Data Humanization Project.

Slip is from Martine Syms’ Kita’s World series. Kita enacts the performances of everyday life in a hyper-digitized world. The character’s roles range from meditation guru to cultural commentator, and she speaks directly to questions of consciousness within the systems of labor, race, technology, and institutional failure. To the cognitive dissonance of Siri mishearing her speech, to the terror of (mis)representation, to the instinct to reconnect with nature.

Soliloquy is from Martine Syms’ Kita’s World series. In the series, Kita enacts the performances of everyday life in a hyper-digitized world. The character’s roles range from meditation guru to cultural commentator, elaborating on questions of race, gender, and technology prevalent throughout the artist’s practice. In these video works, Syms creates an environment in which being human is inextricably linked to the impact and interruptions of technological innovation.

Prompted by Apple’s Siri to ask questions, Magenheimer takes the AI invitation seriously and invents a long list of queries. We see them appear one by one over scanned images from Architectural Digest magazine’s idealized interiors of 1981, the year Magenheimer was born and the year Ronald Reagan became president.

The sale of a plot of land marks the kickoff of an unlikely road trip in this strange American odyssey. When eteam buys an acre of the Southwestern desert on eBay, the deed fails to arrive and the pair attempt to track down the phantom seller. Children in tow, the artists embark on a noir-inspired search through Colorado, Arizona and the American West to locate the shadowy landowner and claim their portion of the vast desert.

Filmed directly from the screen of a smartphone using a language translator app that has been told to translate from French into English, Steve Hates Fish interprets the signage and architecture in a busy London shopping street. In an environment overloaded with information, the signs run riot as the confused and restless software does its best to fulfill its task.

Strip / Musrara is part of Assor's ongoing “Strip” series, set in Jerusalem’s Musrara neighborhood. It is an attempt to create a living map that is both collective and subjective – a plurality of combined perspectives. Not a map of the exact measurements of the neighborhood, but of the experience of moving through it, together and alone, locals and strangers, intersecting and drifting apart.

Animation by Dan Sandin
Algorithms by John Hart and Yumei Dang
Programming by Dan Sandin and Shalini Venkataraman 
Visionary Leadership by Tom DeFanti
Mathematical leadership by Louis Kauffman
Music Composition and Performance by Stephan Vankov

Produced at the Electronic Visualization Laboratory, UIC, and Calit2, UCSD

Sunstone tracks Fresnel lenses from their site of production to their exhibition in a museum of lighthouses and navigational devices. It also examines the diverse social contexts in which optics are implicated, contrasting the system of triangular trade that followed the first European arrivals in the ‘New World’ with the political potential seen in Op art in post-revolutionary Cuba.

Sunstone tracks Fresnel lenses from their site of production to their exhibition in a museum of lighthouses and navigational devices. It also examines the diverse social contexts in which optics are implicated, contrasting the system of triangular trade that followed the first European arrivals in the ‘New World’ with the political potential seen in Op art in post-revolutionary Cuba.

Shot in a creaky, wooden floored Parisian recording studio at an inaugural three-day “forum of ideas” focusing on the manifold possibilities of Resistance (the title of Jean-François Lyotard’s unrealized follow-up exhibition to his 1983 Les Immateriaux), occasional collaborators Ben Rivers and Ben Russell have produced what initially appears to be a structuralist document of a philosophical discussion in-the-round. This “appearance dimension” is deceptive, of course, and with the aid of an immersive 5.1 sound-mix, a Green Man, a Green-Man-shaped

Shot in a creaky, wooden floored Parisian recording studio at an inaugural three-day “forum of ideas” focusing on the manifold possibilities of Resistance (the title of Jean-François Lyotard’s unrealized follow-up exhibition to his 1983 Les Immateriaux), occasional collaborators Ben Rivers and Ben Russell have produced what initially appears to be a structuralist document of a philosophical discussion in-the-round. This “appearance dimension” is deceptive, of course, and with the aid of an immersive 5.1 sound-mix, a Green Man, a Green-Man-shaped

Hatsune Miku is a co-creation platform, personified by a cute and oddly seductive animated character. Fans bring her to life by creating content that she “delivers”. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. Cosplaying Hatsune Miku, Ann Oren goes to Tokyo for a performative journey among these fans and explores the Miku phenomenon as an expression of collective fantasy. The habits of Miku's fans is a familiar exaggeration of our social media habits, that flood us with crowd creativity.

It is TIME at a street corner in London... A collaboration between filmmaker Roderick Coover and writer Deb Unferth, this short marks the textual disintegration of the speaking clock in an unnerving portrait of technology, power, and the urban environment.

Shot in Lebanon, Syria and Jordan, this essay uses transportation, video, and photography to examine images circulating in a historically charged, and presently war-torn and divided, Middle East. From images of camels in the desert to images of the Arab-Israeli conflict, the video looks at states of mind in relation to actual geographies. The video pays tribute to an unformatted and open-ended documentary approach, and examines modes of access to information such as travel, television and the Internet, while carefully displaying the resulting iconography.

This Is A Studio uses surveillance footage that captures a late-night police visit. This document raises questions about home, belonging, and systems of power.

Three Tales was commissioned in the late 1990s by different international music festivals to reflect on 20th century life as the new century approached. It recalls three well known events from the early, middle, and late 20th century—Hindenburg, Bikini, Dolly. Each of these events reflects on the growth and implications of technology during the 20th century from early air transport to the current ethical debate on the future of our species.