Dusty Mariee

_________la mariee mise a nu

The figuration of a possible.
(not as the opposite of impossibles
nor as related to probable
nor as subordinated to likely)

the possible is only
a physical "caustic" [vitriol type]
burning up all aesthetics or callistics

Marcel Duchamp



between simplicity and complexity, within instability

Live music at RANDOM!

Feat site specific performances by
Alo Allik - Sparse Matrix Evolution
Sick Lincoln - Large Glass Impro
xname - Sunset Noise Invocations
Claude Heiland-Allen - Midi Mathr
d. R. e. G. S. - live from Prague


Dusty Mariee uses a Large Glass,
a contact microphone, a Gumstix,
a Linux Kernel, a Debian server,
Icecast, Gstreamer, Ogg/Theora,
Git, Javascript, the Balfron tower,
a mixer and some diy electronics.






A short film introduces the piece,
constructing the myth of its
creation and expanding the frame
of vision, while a database of clips
creates, interjecting the stream
at random, unpredictable and
ever-changing narratives.

The context film was realised in
collaboration with Jen Fearley.




Read more on the Barbican
online: post1 and post2,
on Metamute or qmat.net,
or check this interview.



Questions? TALK TO ME
on IRC server=Frenode
channel=dusty_mariee
Social Network page here.






Dusty Mariee is pure Net art
brought to you by Xname.

Special thanks to Anthony Iles.





This piece was made possible
thanks to a commission by
the Barbican Centre as part of
the Dancing Around Duchamp
season, the Digital Duchamp,
bringing the work of Marcel
Duchamp into the digital age.



Thanks to MAT Doctoral Centre,
Queen Mary University of London.

LIVE PROGRAM ENDED ON 9 JUNE 2013 !! WATCH DOCUMENTATION (Chrome or Firefox)

Or use Videolan:: Open network --> http://xname.tv:8000/dusty_mariee.ogg

...a brutalist kiss between
the Barbican and Balfron
with all the dust and air
and magnetism crushed
between them...



This work, manipulating with technology the classical, yet twisted, ingredients of a fairy
tale (the tower, the bride and the big city), and illustrating the transient and dystopian
state of the surrounding area, finally identifies dust as the only representation of
humanity that preserves a coherence of intent.

WHY DUST?

The image that the camera reproduces is intrinsically different when focussing on the dust
stratifying over the glass, as the picture of the city becomes bleared, surreal, pictorial,
as if coming from another world or a different time and dimension.

When the night comes, or the lights are turned on in the room, the dust becomes more
visible, and the reflection of the internal space of the house overlays and mixes with that
of London, offering a glimpse of Duchamp's strongest obsession, the fourth dimension,
the projection of a three dimensional reality over another three dimensional space.