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VR is here and it’s cool! Comparing this round of shorts to an experience I had over 20 years ago in a VR ‘Cave Lab’ at the University of Illinois, the tech has come into its own! For one thing, you’re having a seamless encounter wearing adjustable VR goggle with no breaks in the visuals or sound. Hence, a real sensation in a virtual space. One still sees pixels (less so in the animated works) and you don’t get the smells or the weather of a real place. But in the hands of mindful creator/director(s) there is something amazing that occurs in this medium which can immerse you in places or experiences you are not likely to encounter otherwise (except in a dream state).

In ‘Seeking Pluto’s Frigid Heart ‘ (New York Times, Key Collaborators: Lunar Planetary Institute, Universities Space Research Association) image grabs from the Hubble are used to…

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VR is here and it’s cool! Comparing this round of shorts to an experience I had over 20 years ago in a VR ‘Cave Lab’ at the University of Illinois, the tech has come into its own! For one thing, you’re having a seamless encounter wearing adjustable VR goggle with no breaks in the visuals or sound. Hence, a real sensation in a virtual space. One still sees pixels (less so in the animated works) and you don’t get the smells or the weather of a real place. But in the hands of mindful creator/director(s) there is something amazing that occurs in this medium which can immerse you in places or experiences you are not likely to encounter otherwise (except in a dream state).

In ‘Seeking Pluto’s Frigid Heart ‘ (New York Times, Key Collaborators: Lunar Planetary Institute, Universities Space Research Association) image grabs from the Hubble are used to compose this dramatic view of the planet from a distance as well as up close. It’s as if you were standing on its surface. I was struck by the mountainous, canyon-like, and glacial aspects of this planet; its primordial appearance giving the sensation of deep-time cast in the black void of space.

Other favorites are ‘Nomads’ (https://www.felixandpaul.com) about the Maasai peoples of Kenya, which puts you in situ and angled in a seated position amidst a group of Maasai, in a mud dwelling, in a village, and occasionally face to face for prolonged singular encounters. Also, ‘Old Friend’ (Tyler Hurd/ http://wevr.com which is a lively music -animated experience.

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Presented a  paper at Connecticut College’s 15th Biennial Symposium ‘Open All Ports, at Ammerman Center for Arts and Technology, on‘Users’ in a Performance about Systems of Control.   It was a three day event highlighted by paper sessions, performances, exhibitions, and new works at the intersection of arts and technology.

A great night and a terrific audience!  This is the 2nd installment of the work-in-progress that is ‘Users’.

Users, is a performance that illuminates the perspectives of two women on opposite sides of the cultural divide; one a woman who works and lives in the digital landscape of data analysis; the other a law enforcement officer in the prison system. This interwoven narrative examines the contrasting lives of these two fictive characters as they move through their experiences looking at the present relevant to their past, and how they view their place in a world which gets thrown into sharp relief through a sudden act of violence.

Dixon Place Lounge, 7PM Thursday, February 18, 2016 161A Chrystie Street

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Contact Information Ph: 347 742 6143 / Email: mandymorrison@mandymachine.com

 

 

 

 

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100 Days: Users (A Work-in-Progress)
Written and Directed by Mandy Morrison
http://dixonplace.org/performances/100-days-users/

100 Days: Users, is an interdisciplinary performance, that illuminates the perspectives of two women on opposite sides of the cultural divide; one a professional female who works in data analysis, and the other a law enforcement employee in the prison system. Taking into account a specific time-frame, this interwoven narrative, examines the experiences of the two fictive characters as they move through daily life, reflecting on the past and looking at the present relevant to their circumstances. How they see their place in the world, is highlighted by an act of violence.

This is a collaborative project with Lori Greene and percussionist Gabriella Dennery of Grace Drums.

Video still: Adam Douglas Thompson

Adam Douglas Thompson @ NurtureART
In the current Videorover show at NurtureArt, Adam Douglas Thompson’s projected scrim of a white-cube gallery space is relentlessly reconstituted; its space regularly being re-made with invented digital ‘shows’. Each one of Thompson’s doll-house-like concoctions is convincingly placed within this circumscribed digital context; and within minutes and (often seconds) the scene is washed over for the flavor-of-the-moment art idea or series that comes next. There are groups of paintings, sculptural objects, and installations; each group a thoughtful show in itself, lightly referencing the ‘canon’ yet neatly – and perversely (through the wonders AfterEffects) swept away, and replaced with another visual idea. It’s both compelling and unsettling as the constant stream of change (like the seasons in a gallerist’s space) and the more ubiquitous media landscape, perpetually engages, confuses, and entertains in offering up the latest possibility.

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Susanne Hofer/ Light Bulb Magic @ Fresh Window
In entering the Fresh Window Gallery of Susanne Hofer’s show, I see lit on the floor, of a darkened room, a pile of empty oddly arranged boxes, cartons, cleaning materials, and the flotsam of office and carpentry ‘stuff’. “Oh no.” I think; a Sarah Sze wannbe? I linger a bit longer looking down at the stuff and then -in hanging with the crowd who face an opposing wall- I notice that the stuff casts a shadow on a projected (video) scene which – it turns out- is a setting sun. This shadow of stuff, is resurrected as an invented cityscape casting a dark skyline against the fading day. Another deceptively simple piece is a peephole several inches wide in the wall. Looking through it you see a vast scene on a reduced scale of New York Harbor at work. The pleasure of these pieces is in the trick of expectation; being disappointed, then fooled and delighted in finding the sublime plumed from the commonplace and disposable of the everyday.

Until this past month, I’d never seen an actual beaver dam in person. When I stumbled upon this one in the Catskills this Spring, my first thought was ‘who did this?’ which shows just how flummoxed I was by both the size and skill level presented in the delicate yet sturdy structure(s) set in place. It is a marvel, and in seeing this I found myself in line with the defenders of the beaver as tool-maker. The Zen Center where I stay has built a delicate bridge which straddles the two dams that back up one end of their lake. On my trip back this weekend an even bigger treat was seeing a beaver treading water near his/her handiwork.
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Charlemagne_ Palestine

I met Charlemagne Palestine after attending his book signing at Electric Arts Intermix in December and went to his opening a few days later at Sonnabend. It was nice that we had mutual friends and even better that his process intersects with my own vis-a vis a personal bodily engagement. A trio of video installations: Ritual Dans La Vide, Motions x 24 and Cemetery Trio, blend lo-tech, fleeting imagery with bellowing sonic rants and architectural meanderings. I was drawn into his winsome world of empty rooms, resting places (cemeteries) and rides (Coney Island’s Cyclone). The technical equipment made friendly with his fetish-y objects and fabric, it’s a go-to; worth the effort before the show closes Feb 1. He’s performance history and it’s the real deal.