August Update

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The sun is rapidly setting on August and the light in New Mexico has shifted. Time to take inventory of my late-summer work.

I’ve been reading heaps of television and new media theory, continuing investigation into remix culture, appropriation, cultural structure and  theories of memory while also honing my video production skills. It seems I’ve been reading more this semester than any previous, which is saying something, as I’m always a prolific reader. My first research paper for the semester is centered on remix and the role of artist as cultural DJ (will share it soon).

I’ve also been developing a more final, conceptual outline of why my thesis contains three distinct elements that alternately access a related core. It’s connected to notions of television experience as a virtual mosaic, to Minkowski’s graph of space-time and to Lev Manovich’s three-screen theory. Too much to go into in this update, but it’s rapidly taking shape.

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Still from “Elevator (Finding a Way out of Here, I Hope)”

My studio work has been centered on developing videos, including massive back-end sampling, altering, generating and “painting” with moving media. So I Asked… and Elevator (Finding a Way Out of Here, I Hope) were developed during July and completed in August.

Many hours go into the scouting, capping and video remix process. Over the course of July and August I completed an obscene amount of tele-viewing time, scouring all 122 episodes of The Rockford Files, re-watching 78 episodes of Adam-12, 129 episodes of Emergency!, 7 episodes of Columbo, 4 episodes of Knight Rider, 22 episodes of The Greatest American Hero and 59 episodes of Simon & Simon. I say “obscene” simply because of the dismissive attitude television-viewing tends to invite. That’s a lot of TV (not even counting the episodes that were repeatedly scoured, broken down and disassembled).

Sound crazy? Research is always a little borderline, anyway. At least borderline obsessive for me. The television deluge served to reveal a bigger image of televisual structure, the function of television as mosaic (and as an extension of oral tradition) and as compositional flow. After a while, you see segments as painted moments in a longer, cyclical turn. This is very useful to the way I’m working with the painting and video.

Still from "So I Asked..."

Still from “So I Asked…”

The videos include layers of manipulated stills, altered footage, digital painting and sound that’s been sampled, mixed, remixed and composed using Audacity. I combined remixed television sound footage with my own sampled audio taken with a Zoom Microtrack recorder.

I’ve also generated hundreds of new screen caps and I’ve just started work on the second 38″ x 50″ painting.

I also experimented with contrasting present-day Google Street Views with show clips and discovered they lead in the wrong visual-physical direction for my 2015 thesis project, but are still fascinating on an urban archaeological level. During my research, I also found devoted fan bases, like the folks at the Official Dwight Schultz Fansite (A-Team Filming Locations), who do footwork to combine video stills with Google Street Views (and actual street shots the fans carve out on their own time), not unlike my experiments earlier this semester. However, their work is a collaborative effort, making use of crowd-sourced skills and knowledge–a compelling turn, and a confirmation that the iceberg revealed by my contrast experiment is meant for another project.

The overall concept behind the fansite research, however, is highly relevant to my thesis– a reminder that fictionalized, pop cultural narratives happened in real space. And here, the landscape becomes a site of activation, a catalyst for decade-spanning personal, regional and cultural interactions. Fans work with space-place memories, track down the actual locations, build new associations with the urban-archaeological discovery (and again, new memories and experiences), then share them as part of a collaborative digital space.

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Still from “Elevator…”

My mentor is also finalized–with thanks to Peter Rostovsky. I’ll be working with Kevin McCoy this Fall (of the collaborative duo, Jennifer & Kevin McCoy).

And here is a preview of the new painting, in its early-early phase.

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