Hernan Diaz Alonso introduces Christian Moeller as an artist, architect and founder of UCLA’s Design Media Arts program. Moeller begins by talking about his background and how he shifted from architecture to other disciplines. Moeller presents robotic artwork, visual and sonic installations, and art for airports and libraries. He describes the whole process of development from concept to execution, often including anecdotes about the clients and fabrication.
Video Archive | Audio-Visual (8)
M. C. Schmidt and Drew Daniel perform some of their music, which includes audience participation and pre-recorded video segments. The video sequences range from the abstract forms to portrayals of burning skin, with sound samples corresponding to the on-screen segments.
Heather Flood introduces M.C. Schmidt and Drew Daniel of Matmos, identifying them as an experimental music practice whose recent activities include an exhibition at the Whitney Museum of American Art and a world tour with Bj?rk. Schmidt and Daniel perform some of their music, which includes audience participation and pre-recorded video segments. Later, they discuss their use of the term “assemblage,” and acknowledge the influence of musique concr?te. They conclude with a performance of their recent work, “The Rose Has Teeth in the Mouth of a Beast.”
Steve Roden describes himself as a “painter who also works with sound.” From his childhood drawings to his full-scale installations, Roden discusses the ideas behind his diverse body of art work. Roden describes how he conveys his sense of the feelings evoked by space through manipulated audio recordings. He also describes the coding behind his generative art, which translates an input, yet cannot be traced back to it.
Roden discusses the drawings from his youth that launched him on a trajectory towards generative art. He describes the coding behind several of his works, which include color-coded drawings correlating to the letters on a book page, models generated by the vowels in the names of lunar geological formations, paintings that were translations of the phrase “the silent world,” and audio work that was a translation of color names mentioned in a chapter of a book. The common thread in all of these works is that none of them can be traced back to the original input.
Roden talks about his audio-visual works with architectural implications. Here he describes the audio recordings that he made in and for the Schindler House, which, when played back in certain areas of the property gave the listener an abstract sense of the space. He also describes projects inspired by Wallace Neff’s airform dome work, the Serpentine Gallery by Alvaro Siza Vieira, and a church by Dimitri Pikionis. In one of the rare occasions that Roden worked with others, he describes a full-scale installation done with Caltech engineers.
Karam and Biederman present a portfolio of their work, beginning with an interactive piece titled “Post TV.” They describe a project called “Saigon on Wheels,” which uses the shutter of a camera to illustrate information coming into focus. Karam and Biederman explore their interest in actively empowering the user as creator in a project for the band Gravity.
Acconci reviews his work from 1970 to 1982. He begins by explaining how he started as a writer. First he describes what thoughts and circumstances made him switch disciplines to become an artist. He explains the evolution of his work, and how each one of his projects evolves into the next one. He describes the projects in detail, and tries to reproduce the users experience by doing live performances and descriptions of the audio of several installations. He focuses specially on the questions he asks himself after a project is finished and how these thoughts lead him to the next stage of his work.