_________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
Live music at RANDOM! Feat site specific performances by Dusty Mariee uses a Large Glass, A short film introduces the piece, The context film was realised in Read more on the Barbican Questions? TALK TO ME Dusty Mariee is pure Net art Special thanks to Anthony Iles. This piece was made possible Thanks to MAT Doctoral Centre,
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
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.
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.
collaboration with Jen Fearley.
online: post1 and
post2,
on Metamute
or qmat.net,
or check this interview.
on IRC server=Frenode
channel=dusty_mariee
Social Network page here.
brought to you by Xname.
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.
Queen Mary University of London.
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THE BRUTALIST KISS >> EDITED VIDEO FROM LIVE BROADCAST 14 May - 9 June 2013 |
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...a brutalist kiss between |
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.