This interactive video was shot on the 101st anniversary of Bloomsday, the fictional day documented in James Joyce’s Ulysses. The piece is a tryptich of randomly combined clips of Mary Beth Canty, a musician who was living in Quebec City around the corner from where I was doing a residency at La Chambre Blanche that summer as well as excepts from page 101 of Ulysses.
(Source: Author's website)
Comme son titre l'indique, Ulysses 101 est une adaptation transmédiatique du roman de James Joyce publié en 1922, et dont les événements relatés se déroulent le 16 juin 1904, soit 101 ans avant la mise en ligne de l'oeuvre hypermédiatique. Sur un fond blanc, trois fenêtres carrées sont juxtaposées horizontalement afin de constituer un bandeau. Un nombre est attribué à chacune des fenêtres, la première est identifiée par « one », la seconde par « zero » et la dernière à nouveau par « one », transformant ainsi l’écart initialement noté (101) en nombre binaire (101, c’est-à-dire 5). Ces fenêtres renferment deux types de contenu, soit de courtes séquences filmées et des extraits de texte disposés adroitement. Le triptyque qu’elles constituent est aléatoire. Les séquences filmées offrent tour à tour des images d’une femme interviewée dans un café, d’une chaise berçante juchée sur un meuble en bois, d’un homme attablé dans un café et dessinant sur les pages d’un cahier, d’une porte couverte de graffitis qui s’ouvre en grinçant, de gens marchant la nuit dans les rues de Québec, d’une femme jouant de l’accordéon dans un local, etc. Les segments de texte affichés pourraient provenir de n’importe lequel des 18 épisodes du roman; ce sont des citations sans véritable signification sauf celle, première et essentielle, d’indiquer explicitement la présence du roman de Joyce. Ce sont ses mots, ses phrases qui sont ici agencées pour créer un matériau visuel complémentaire des séquences filmées, dans un système de permutations qui fait se côtoyer des textes séparés par plus d’un siècle.
(Source: NT2)
Author note: Ulysses 101 was created as part of a residency at La Chambre Blanche in Quebec City in 2005. Filming with Mary-Beth Carty and Jennifer Banks took place on June 16, 2005. Programming: Chris Mendis
"Wax..." was my first feature, executed from 1985-1991 with a variety of arts funding, and a co-production commissioning from ZDF in Germany. The narrative is grotesque, an unresolved and unresolvable tragedy revolving around the perceptual and ethical misperceptions of one Jacob Maker, flight simulation systems programmer, and amateur beekeeper. Half-way between suspense and suspension, the movie moves through space, as the protagonist is translated from his home in Alamogordo out to the Army's Deseret Test facility, and beyond, to caves or the world of the dead, and perhaps even further, if his endless talking voice is to be believed (it should be). Dislocated, disoriented, fragmented, and finally flying, the hero and all those bees and other pictures accompanying him fly backwards and forwards through time. And in a sense the viewer does too.
"Waxweb" (1993-1999) is the hypermedia version of the project, available online and on CD-ROM. It is a hypervideo, clickable on a shot by shot basis; and it is literally spatial, recomposing the time of the movie in varieties of space (2d, 3d, wor-d space). The movie expanded into apparently infinite time (made of minor, interrupted epiphanies); a grotesque, miniature, and artificial world.
(Source: Abstract, 1999 DAC conference)
"Epiglobis" is an interactive video that explores consumption, desire, and issues pertaining to globalization through non-linear imagery and sounds called at random from a databank that generates continuously new juxtapositions.
"Velvet" is an interactive artwork involving sound and image that is highly personal in nature and which immerses a user inside the mind and identity of the artist for the exploration of states of mind, dreams, and memory.
(Source: 2008 ELO Media Arts show)
The Drawing from Life installation was developed as a commission for the ‘Genomic Revolution’ show at the American Museum of Natural History in New York. The exhibit opened in May 2001 and ran through January 1, 2002. In this piece viewers see a live video of themselves composed completely from the letters ‘ATGC’—the letters symbolizing the 4 proteins of DNA. This piece appears in the last room of the exhibit on the human genome and helps raise questions for visitors ‘am I more than my DNA’? ‘Does my DNA define me?’ The light or dark value of each letter is determined by the light or dark value in the incoming video, but the characters themselves change randomly—hinting at the vitality and chaos of life itself.
(Source: Artist's description at project site)
Tryptich interactive video installation, layering sound and video. As installation, a user would trigger the different speakers by walking in front of one of three screens. Dealing with the myth of Orpheus and Euridyce.