Hi Sarah, hello all

greetings, no burning questions....

just an observation, namely when Johannes Goebel's last
post appeared (Feb 04), and after I tried to shift discussion
ever so slightly to issues concerning time based performance,
choreography, exhibiting movement-objects, and the performing arts
(Jan 19 and after), one could get the feeling that the dialogue about
curating stopped,  or was not evolving as vividly as it might have; and now why
would that be?  

Interestingly, we currently have Phill Niblock here in London,
and last night a concert-performance of his extraordinary microtonal
music was performed in our old BoilerHaus, now called Artaud
Performance Center, to multiple projections of his many-houred
film "The Movement of People Working".... 

the concert installation lasted exactly 69 minutes (each of Niblock's compositions being 23 minutes long),
and in a talk earlier in the day, he told us a bit of the time he took photographs
and made films in the 60s, around Judson and Fluxus people in New York (he was not a composer
then, he became one later, just as Paik probably was a musician first, and then
composed with the camera and tv monitors and electronics later), and a long
conversation then ensued about time in music, and the way he tried
to de-time his composition using long durational drones of one pitch
(then slightly shifting the microtonal relations over-time and listening to
the vibrations of the sound in buildings and environments asking audience to move around...),
and obviously we were discussing musical performance, breath, instruments, pitches, non-rhythms, etc
but it intrigued me much when he then refered to his films as having no time  (no cuts, very few cuts, ....although
that is not actually the case when i watched them, but the shots are held much longer than in conventional
film and documentaries and experimental video ...)..... so the film projection of people working appears to be "real-time"
rendered to look as if it was the actual time we watch...
......  
(subsequently, we argued about "chunk theory), which is, i gather, a
way of looking at how an artform such as film (or music) structures or
destructures temporal perception, and chunks are, perhaps intervals.

It would interest me how such thinking on intervals and de-intervalling
in composition is reflected in the loopular modes/constellations of
media art works (including Paik's installations and his interest in visual music)?

regards

Johannes Birringer
dap, http://www.brunel.ac.uk/dap
London



________________________________________
From: Curating digital art - www.crumbweb.org [[log in to unmask]] On Behalf Of Sarah Cook [[log in to unmask]]
Sent: Thursday, February 17, 2011 7:00 PM
To: [log in to unmask]
Subject: Re: [NEW-MEDIA-CURATING] December/January theme on CRUMB: Nam June Paik

Hi CRUMB list
just a quick reminder that the conference about Nam June Paik is
tomorrow (Friday) at FACT in Liverpool and I am now your stand-in
chair for the day. Please send your burning questions for the final
panel discussion and I'll do my best to put them to the curators and
theorists and historians present during the day, and I'll report back
afterwards.
http://www.fact.co.uk/whats-on/nam-june-paik-conference-the-future-is-
now?listing_id=1619
Best from Merseyside,
Sarah