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PROGRAMS / Our Festivals / Extremely Shorts Film Festival / Media Archeology Archive

Media Archeology Archive

Aurora Picture Show’s Media Archeology Festival mission is to showcase artists who use, manipulate, recycle, and reinvent found electronic media to create live multidisciplinary events and performances. This annual festival highlights artists, and collectors who preserve, study, and/or re-use found media.

Review the history of Media Archeology and meet the artists who have helped to shape and grow this festival from 2004 to present.

Past Media Archeology artists and performances:

Media Archeology 2012: Real Time
September 20-22, 2012

Aurora Picture Show presents the 9th annual Media Archeology Festival from Thursday, September 20 to Saturday, September 22, 2012 in Houston. Presented by Aurora Picture Show in collaboration with both the Cynthia Woods Mitchell Center for the Arts at the University of Houston and Nameless Sound, the multi-media festival showcases artists who use, manipulate, recycle and reinvent electronic media to create live multidisciplinary performances.

Media Archeology: Real Time will present artists whose work is a hybridization of moving images and acoustics to explore the relationships and open the definitions of film, music, art and performance. From innovative new technologies to traditional analogue methodologies these artists fuse genres to create a contemporary interdisciplinary experience grown out of sound and light. 

Thursday, September 20, 7:30PM
Opening Night Party featuring films by Semiconductor
Curated by Robert Crouch
Location: Aurora Picture Show, 2442 Bartlett
Free Admission
On the first night of the festival, Aurora kicks off our annual Media Archeology Festival with a party and presentation of films by Semiconductor. Semiconductor is artist duo Ruth Jarman and Joe Gerhardt based in the UK. Semiconductor literally makes films out of scientific data, sound and music, transforming it into a visual material to imagine new landscapes and worlds. They have developed a long term and rigorous practice that draws on innovations in science and media to form a visually and sonically rich body of work. Over the course of their career they have collaborated with a wide range of musicians and sound artists including Oren Ambarchi, DAT Politics, Hauschka, BJ Nilsen, and Cristian Vogel. 
Friday, September 21, 7:30PM
Heart Chamber Orchestra
Performed by Two Star Symphony
Curated by Bree Edwards
Presented by Cynthia Woods Mitchell Center for the Arts at the University of Houston
Location: Barnevelder Movement/Arts Complex, 2201 Preston Street
An audiovisual performance where the music literally “comes from the heart”. The Heart Chamber Orchestra consists of 12 classically trained musicians from Houston based Two Star Symphony and the electronic artist duo TERMINALBEACH. Using their heartbeats, the musicians control a computer composition and visualization environment. 
The musical score is generated in real time by the heartbeats of the musicians, who are wearing electrocardiogram sensors.
TERMINALBEACH is a collaboration between PURE (Vienna/Berlin) and BERGER (Helsinki) which began in 2002.
Saturday, September 22, 7:30PM
Text of Light
Co-presented with Nameless Sound
Curated by Aurora Picture Show and Nameless Sound
Location: Barnevelder Movement/Arts Complex, 2201 Preston Street
Nameless Sound and Aurora present a unique night of Text of Light. Text of Light does not perform soundtracks to the films of Stan Brakhage. Rather, it uses the film as a further element for improvisation, almost as a fifth (or sixth) performer. While Brakhage intended for these films to be screened silently as films , when framed in and of themselves in a movie theatre, in Text of Light presentations they are being juxtaposed with the music, in a kind of real-time performance, mixed-media collage. The Brakhage films included will be Mammals of Victoria, Beautiful Funerals, and Aftermath. 
Performers for the Media Archeology event will be Tim Barnes, Ulrich Krieger, Alan Licht, and Lee Ranaldo.

Rewind-Play-Fast Forward
September 15-17, 2011

Aurora Picture Show presented the 8th annual Media Archeology Festival Thursday, September 15 through Saturday, September 17, 2011 in Houston. Taking place at venues across the city, including The Orange Show and Menil park, the festival is presented in collaboration with the University of Houston Cynthia Woods Mitchell Center for the Arts. This multi-media festival showcases artists who use, manipulate, recycle and reinvent electronic media to create live multidisciplinary performances.

This year, the festival explores the ideas of games and play from the past and present.  Games are social tools for interaction, community building, and entertainment that have traditionally permeated media in various ways—all the way from chess, charades and hula-hoops, to role playing games like Dungeons and Dragons and now to the World of Warcraft, one of the most successful multi-player role playing video games of recent times.  This year’s festival Rewind – Play – Fast Forward examines new forms and contexts of performance-based art informed by games through visuals, interactivity and strategy.

The three nights of the festival include the following:

Thursday, September 15
Sniff with Karolina Sobecka
Location: Chick and Chica, 3710 Main Street

For the opening night of Media Archeology, Aurora invites everyone to midtown Houston for a unique shop window display sure to entertain.  Sniff is an interactive projection where an animated CG dog follows the viewer, responds to gestures and forms a relationship based on the history of their interaction. Sniff was created with Unity3d Game Engine, which renders the dog in real time and allows it to dynamically change his behavior based on the video tracking data. 

Friday, September 16
Performing and Playing in Bits with Robert Thoth
Location: The Menil Collection front lawn

For the second night of the festival, we invite you to another memorable night of Media Archeology at The Menil Collection with multiple projections of video games of the past and a live performance. Houston artist Robert Thoth will present the live cinema performance “The Chip Tune Crooner” during which he will perform popular songs from the 1960s to 1980s which are accompanied by a low tech 8-bit orchestra created from vintage computer parts, complete with large pixel-art music videos projected behind him. In addition to Robert’s performance, Aurora will present a cornucopia of video games available to audiences to play and compete in a festive and larger than life capacity out under the stars. 

Saturday, September 17
Wizard Takes All with Eddo Stern
Location: The Orange Show, 2402 Munger Street

Commissioned specifically for Media Archeology, media artist Eddo Stern presents Wizard Takes All, for the final night of the festival. This is a live computer game performance that explores the relationships between scripted time and space, role playing, acting, audience/performer relationships, computer simulation and the boundaries between narrative and game-play. A single player/performer plays an all-powerful wizard who possesses boundless audiovisual powers.  The wizard stands above a large group of avatar minions, uses hand gestures and chants which are analyzed by software and activated into visuals representing “magical powers” for the purpose of the game.  Members of the audience, through the use of simple custom game controllers, control the actions of the mob.  The wizard and the mob are engaged in an epic computer game battle that gradually builds in intensity as the performance develops towards a spectacular synesthetic climax.


Media Archeology 2010: Texas Focus
Thursday, September 16 through Saturday, September 18, 2010

This year's festival is titled Media Archeology 2010: Texas Focus and highlights media artists working in light, video and film from around the state including Austin's Luke Savisky, San Antonio's Potter Belmar Labs (Leslie Raymond and Jason Jay Stevens), and Graffiti Research Labs-Houston (Kirk Moreno and David Sutherland).  As part of Aurora's annual multi-media festival, these artists will host site-specific electronic art events that explore the past and present through tools that have been manipulated such as film, light, sound and live performance. The three-night festival includes a laser light show projected on the side of the Menil Collection with Graffiti Research Labs-Houston, a remix of the famous controversial film "I am Curious Yellow" with Potter Belmar Labs in Heights Theater (infamously set on fire during a screening of the film in 1969), and an interactive live projection on the side of the enormous abandoned grain silos in Houston's East End with artist Luke Savisky.
Thursday, September 16, 8PM
Laser Graffiti
With Graffiti Research Labs Houston
Location: Aurora Picture Show Video Library, 1524 Sul Ross

For the opening night of Media Archeology: Texas Focus, GRL Houston will present interactive installations called "Laser Tag" and "Text Tag." Multiple video projections offer audiences the opportunity to use light as an artistic medium in the form of non-destructive, digital graffiti projected on the exterior of the Menil Collection just across the street from the Aurora Office and Library. A live video & music mix will accompany the installations and further explore the evening's theme.  
Graffiti Research Lab Houston is comprised of Kirk Moreno and David Sutherland. This new "cell" is a localized continuation of the values and ideas of the original Graffiti Research Lab in New York, which are now located all over the world. GRL was founded by Evan Roth and James Powderly during their fellowships at the Eyebeam OpenLab. They are dedicated to outfitting graffiti writers, artists and protesters with open source technologies for urban communication. GRL Houston continues the use of GRL projects while also developing & documenting new tools to take back the public space.
Friday, September 17, 8PM
I Am Curious Remix
With Potter-Belmar Labs
Location: Heights Theater, 339 W. 19th Street

In June of 1969, arsonists set fire to Houston's Heights Theater during a run of the controversial film "I am Curious (Yellow)," by Swedish writer/director, Vilgot Sjöman. Live cinema artists Potter-Belmar Labs will investigate this history within the context of late-60s Houston, taking into account the broader censorship movement of the age as well as the phenomenon of reactionary violence in our own time. Potter-Belmar live cinema performance will center on a remix of Sjoman's film, exploiting the kaleidoscope shape of the film to shape their performance.  Potter-Belmar Labs is Leslie Raymond and Jason Jay Stevens, collaborating artists since 1999, with internationally exhibited, prize-winning work, in live cinema performance, single-channel video, and installation art. Potter-Belmar Labs specializes in audience-participatory, multimedia spectacles and curiosities. Their work offers means of interaction, like unique switches, sounds and peepholes, and their live cinema performances often involve direct audience participation.
Saturday, September 18, 8PM
E/X with Luke Savisky
Location: Buffalo Bayou East End Silo Site, 490 North Live Oak
FREE Admission

Savisky will create a site-specific video projection performance piece, using the Buffalo Bayou Partnership's Silo Site in the East End, a concrete grain silo connected to the bike trail along the edge of the bayou. Using audience participation and a cache of discarded 35mm drive-in movies that have been drowned in a flood and seared by the Texas heat, Savisky will process a live evisceration, deconstruction and reconstruction of a decomposed cinematic narrative in a performance designed to revive the material, catalyze the living alchemy of its carnal soul and reveal the hidden source of the 35mm film's buried desire. This project is made possible in part by the Creative Capital Foundation.   Luke Savisky is an Austin-based multi-media and digital artist. His performances transform and respond to the natural and architectural environments through the use of analogue film media projection with 16mm and 35mm film. For his project, I/Tx (The I/Eye of Texas), an interactive projection of viewer's eyes glows on an 85ft water tower in downtown Austin, TX. Savisky was chosen as official media artist for the 2005 Sundance Film Festival and is the recipient of numerous awards and grants including: The Texas Filmmakers Production Fund, the Austin Film Society's 1st D. Montgomery Award, and the 2007 Austin Table of Critics Award for Best Individual Project.


Liquid Light to the Laptop, the Evolution of Live Visuals
April 17-18, 2009

Curated by Bree Edwards

The Joshua Light Show and Silver Apples: LIVE
at The Museum of Fine Arts, Houston
Friday, April 17, 2009

To celebrate the 40th anniversary of Apollo 11’s historic landing, the legendary Joshua Light Show teams up with pioneering electronic-rock band Silver Apples for this multimedia performance featuring the Houston premiere of Silver Apples’ 1969 composition, Mune Toon. An early pioneer of “liquid light” shows, The Joshua Light Show is best known for their artistry of the 1960s at the famous New York venue Fillmore East, where they created a psychedelic visual environment using light, liquid and colored projections for Jefferson Airplane, Frank Zappa, the Grateful Dead and Jimi Hendrix. Formed in 1967, Silver Apples' mission was to see if it was possible to make music with feeling, using only oscillators and drums with vocals. They were one of the first groups to employ electronic music techniques extensively.

Maximal Art: The Origins and Aesthetics of West Coast Light Shows and Andy Warhol’s Exploding Plastic Inevitable with The Velvet Underground
at The Museum of Fine Arts, Houston
Saturday, April 18, 2009

Robin Oppenheimer’s presentation will trace the historical origins and aesthetics of light shows on the West Coast and will feature rare documentary footage. Light Shows of the 1960’s are associated with rock music, pulsating lights, and wild-haired hippies dancing in a drug-induced trance. But as part of the counterculture of consciousness-raising and Vietnam war protests, light-shows were also the first attempts by artists to blend the “new” twentieth century communications media technologies – photography, film, audio, projectors – to create a montage of popular culture images and sounds. This presentation will be followed by a 15 minute screening of Andy Warhol’s Exploding Plastic Inevitable with The Velvet Underground by Ronald Nameth.


Live & Televised
April 17-19, 2008

Curated by Andrea Grover & Nick Hallett

Negativland: It's All In Your Head FM
at Rice University, Herring Hall
Friday, April 17, 2008

Legendary trickster band Negativland brings a new version of their weekly radio broadcast (Over the Edge, on the air since 1981) to the live stage for the very first time in Houston, mixing music, found sounds, found dialog, scripts, personalities, and sound effects within a “radio” theater-of-the-mind. It's All In Your Head FM is a two-hour-long, action-packed look at monotheism, the supernatural God concept, and the all-important role played by the human brain in our beliefs. Dr. Oslo Norway is your “radio” host, and Christianity, Islam and Judaism are the featured religions, as Negativland asks you to contemplate some complex, serious, silly, and challenging ideas about human belief in this audio cut-up mix best described as a “documentary collage”. “IAIYH FM” is a compelling and uniquely fun presentation of sticky theological concepts, which has actually been known to provoke arguments for days after the show is over.

Brent Green: A Million Moths Flurrying Around the Front Porch
at Orange Show Center for Visionary Art
Saturday, April 18, 2008

 Brent Green’s adamantly hand-made animated films have been shown at the last three Sundance Film Festivals, the Getty Center, Warhol Museum, DiverseWorks, the Walker Arts Center and countless other museums and festivals around the world. The New York Times has hailed Green’s work as “some of the most original animations we have seen in years.” Green’s work is represented by Bellwether Gallery, NYC. He is a 2005 Creative Capital grantee.
-Hadacol Christmas (12 minutes, 2005) Santa Claus invents Christmas with a belly full of cough syrup and a head full of dying crows.
-Walt Whitman’s Brain (3 minutes, 2007) Walt Whitman’s brain was destroyed when a medical intern dropped it on an exam room floor.
-Paulina Hollers (13 minutes, 2006) A religious zealot kills herself so she can follow her son into hell and try to rescue him. Good luck. A    Creative Capital project.
-Abe Lincoln (3 minutes, 2006) Abe Lincoln was mighty. This is brief portrait of Abe with the ghosts of his dead children flickering by his side and departed Civil War soldiers swimming in his hat.
-Carlin (8 minutes, 2006) My Aunt Carlin moved in with us to die.  She got it done.  This is the story of our time together shot in the house where I grew up with life-sized wooden characters and taxidermies chickens.
-Susa’s Red Ears (6 minutes, 2002) A little story about a girl with a firetruck in her head on the day the sun explodes.  She saves herself and very, very little else.
-Gravity Was Everywhere Back Then (6 minutes, 2007) A short piece of a much longer film about building something wonderful with your hands.

Shana Moulton: Cynthia’s Moment
at DiverseWorks Art Space
Sunday, April 19, 2008

Shana Moulton will play her character, Cynthia, the fictional protagonist in her Whispering Pines series of videos.The character, Cynthia, an anxiety-ridden hypochondriac, wears clothing embedded with medical devices and surrounds herself with inspirational new age knickknacks in order to cope with her life. Through her banal home decorations, Cynthia searches for fulfillment, purpose and salvation. Her struggles with the mundane, the eclectic and the disposable offer a unique perspective on the relationship between spirituality and consumerism in contemporary society. Moulton's presentation will at different points approximate a personal growth workshop, dance recital, instructional video and fairytale.  Shana Moulton works in video and performance. Moulton studied at the University of California, Berkeley and Carnegie Mellon University, Pittsburgh, where she received her MFA. Moulton creates evocatively oblique narratives in her video and performance works. Combining an unsettling, wry humor with a low-tech, pop sensibility, Moulton plays a character whose interactions with the everyday world are both mundane and surreal, in a domestic sphere just slightly askew.

Tara Mateik: Putting the Balls Away
at DiverseWorks Art Space
Sunday, April 19, 2008

Tara Mateik is an artist and educator living in New York City. Through video and performance he embodies alternatives to binary gender tropes, most recently through the subject of professional sports. In addition to his own work he has collaborated with collectives and artists, including Paper Tiger Television video collective, to produce short videos that demystify and democratize the media. He has performed at venues such as The Guggenheim Museum and Foxy Productions, and has exhibited at LACE, Artist Space, Roebling Hall, and FACT/Liverpool Biennial, among others. Currently he teaches at CUNY Staten Island in the Media Culture Department and runs the Education Department at Art in General.  In Putting the Balls Away, Tara Mateik reenacts the legendary 'Battle of the Sexes,' Billie Jean King's 1973 defeat of the former Wimbledon men's champion, Bobby Riggs. By playing both roles in a video version of the match, and reviving remarks by sports commentators Howard Cosell and Rosie Casals, Mateik recalls the controversy sparked by the most watched televised sporting event of the era.


Media Archeology: Below-Fi
April 19 - 21, 2007

Curated by Nick Hallett

Bruce McClure: 6’s TWO 8’s : DOPES TO INFINITY
at Aurora Picture Show Church
Friday, April 19, 2007

Bruce McClure graduated from architectural school in 1985, received his license to practice in 1992, and continues to work in offices in New York City. His projector performances have been included in many national and international events including the Whitney Biennial, Rotterdam Film Festival, and Image Forum (Japan).  Since 2002, he has shown annually at Media City Film Festival in Windsor, Ontario, where he has premiered many works and won several awards.  Bruce McClure uses the tools and occasion of film projection to create a visceral hybrid of vaudeville, installation, and cinema. Drawing on the experience of Harold Edgerton's stroboscopic flash and the flicker films of recent decades, Bruce applies his formal training as an architect to construct mind-altering, multi-projector works of light and obstruction accompanied by optical sound.

Dynasty Handbag: No Quantize About It
at Domy Books
Saturday, April 20, 2007

Hailing from San Francisco's experimental rock scene, Dynasty Handbag is the one-woman/portable/electro/performance/music vehicle created and executed by "crackpot genius" (Village Voice) Jibz Cameron. Her elastic physicality, miraculous timing, minimalist melody arrangements combined with an over the top stage persona make for a piece of art comedy that is the expulsion of all things serious in a young woman.  Dynasty Handbag struggles to behave with order and deliberation where there is no grid to be followed.

Nautical Almanac: Visuals by Nautical Almanac and Mighty Robot
at Domy Books
Saturday, April 20, 2007

 “Nautical almanac has been confusing audiences since 1994 with a mixture of seemingly broken instruments and utterly sincere performance.  the band has had many members over the years, but the one constant has been twig harper: unwitting mastermind.  the music has evolved with the changing of members, what began as a diy rock band quickly changed to a call and response format, banjo jams, and then for many years it was based mostly on homebuilt and circuit bent electronics.  in recent years it has reverted back to somewhat more standard instrumentation, and currently is a mixture of all these and more.” “After a years’ hiatus from playing, this performance is truly an experiment for a band known for their forays into the unknown.  as always, it will be a test of the ability of the now to erase and encompass the past and the future.  the instrumentation will be greatly varied, ranging from electro-acoustic rigs to ultrasonic vibrations; from hand cut records to a handmade drum machine built on paper circuits; as well as incorporating psychic links and archetypal emanations.”

Tristan Perich: 1-Bit Music
at The Orange Show Center for Visionary Art
Sunday, April 21, 2007

Tristan Perich, visual artist and composer, works with simple forms inspired by math, geometry and physics. His Machine Drawings, dense, pen-on-paper drawings are mechanically generated, exploring the relationship between structure and randomness. 1-Bit Music, was released by Cantaloupe Music (1-Bit Video applies a similar aesthetic to television). He finishes his master's degree at ITP/Tisch this Spring and will present his thesis composition for 10 violins and 10-channel 1-bit music in New York in April.  1-Bit Music, a music/art project by New York-based Tristan Perich, utilizes electronic circuitry housed in a standard CD jewel case. When headphones are plugged in, it plays back an album's worth of the lowest fidelity electronic music over 11 songs. The sound, a raw electronic noise that ranges from intellectual to drum-and-bass, is more lush and intricate than one might expect from just 1-bit of information. Along with new works for 1-Bit Video, Perich will accompany the music on analogue drum set with heavy, big beats.

Quintron and Miss Pussycat: Visuals by Mighty Robot
at The Orange Show Center for Visionary Art
Sunday, April 21, 2007

Mr. Quintron is a very eccentric concert and nightclub organist from the 9th Ward of New Orleans, Louisiana. He is the creator of the patented Drum Buddy, a mechanically-rotating, five-oscillator, light-activated drum machine, which is played like a DJ spins and scratches records. Quintron and Miss Pussycat perform regularly at the Spellcaster Lodge in New Orleans and around the world. Their act somehow has equal relevance in sleazy nightclubs, pizza restaurants, and university lecture halls.  Brooklyn-based Mighty Robot works within a variety of audiovisual media to develop hybrid techniques linking the history of expanded cinema and the synesthetic lightshow to more contemporary practices and contexts.   Rising from a frenetic swirl of barely-controlled electronic chaos, Mr. Quintron plays a custom-made Hammond-Rhodes combo synthesizer built out to resemble a classic car with working headlights, and fingers boogie-woogie basses and gospel chords, backed by raw "swamp tech" beats on The Drum Buddy. All the while, Ms. Pussycat plays maracas, sings, and performs avant-garde Technicolor puppet theatre.


Media Archeology: Software Cinema
April 19-23, 2006

Curated by Lauren Cornell, Nick Hallett, Marisa S. Olson, and Golan Levin    

at Aurora Picture Show Church
Wednesday, April 19, 2006

For this event, Share provides an open-mixer system for video and audio which allows participants to patch their equipment into a multi-channel sound and video system. Artists are encouraged to bring any portable audio and video gear and take a turn sharing, join in an open jam, or form impromptu collaborations. Share is the place to: sing a new pop song you've written, preview that video project you're working on, learn about new software developments, join an open jam of digital artists, form an impromptu collaboration, hear how your new songs sound on a big system, meet coconspirators for art projects, spin some mp3s, look for new Max patches and Buzz machines, or relax and have a drink with interesting people. Share (NYC) is a weekly assemblage of portable computing, founded in 2001 by Barry Manalog, geoffGDAM and Newclueless that is providing an open forum, in real life, for data exchange and media performance. Representing Share at Aurora Picture Show are Geoff Matters, Dan Winckler, Elsa Vieira, and Chika Iijima. Share happens every Sunday in New York City at bar Mundial.

TAPE NUMBER ONE by Tommy Becker
at University of Houston, Dudley Recital Hall
Also appearing: Rick Silva (courtesy Aurora Picture Show) and Golan Levin, SUE.C, Scott Arford and Tree Wave (Courtesy Mitchell Center for the Arts)
Thursday, April 20, 2006

TAPE NUMBER ONE, is a mutating construction of sentimental vignettes that uses video as a hybrid medium for personal explorations in writing, performance, music and design. These short works often mix Google search imagery with found film and original video footage shot by the artist. Simple poetics, often performed live by the artist, delivers carefully orchestrated cadences, repetitions and pauses to deliver a unique play between words and images.Tommy Becker attended the San Francisco Art Institute as an undergraduate before receiving his MFA in New Media Arts from California College of Arts in 2001. Becker teaches visual arts at Gateway High School in San Francisco and Intro to Video at JFK University in Berkeley. In 2005, he was awarded an artist in residency at Headlands Center for The Arts, Marin and included in Bay Area Now at the Yerba Buena Center for The Arts. His work has been presented at White Columns, New York; Pacific Film Archive; Art In General, New York; SF Camerawork and The San Francisco Independent Film Festival.

Satellite Jockey, Rick Silva
University of Houston, Dudley Recital Hall

Also appearing: Tommy Becker (courtesy Aurora Picture Show) and Golan Levin, SUE.C, Scott Arford and Tree Wave (Courtesy Mitchell Center for the Arts)

Thursday, April 20, 2006

Satellite Jockey uses the software Google Earth like a DJ or VJ would use turntables or a video mixer to capture satellite video of pixilated landscapes and glitchy fly-overs. Rick Silva was born in Brazil in 1977. Silva's various artworks and projects have shown on five continents at media festivals and museums including Transmediale (Berlin), Dotmov (Sapporo), Videobrazil (Sao Paulo), D>Art 04 (Sydney) and Senet (Seoul). His work has been written about in the New York Times, The Guardian UK, El Pais, and most recently was featured on the CBS Evening News

Coat of Embrace, LoVid
at Domy Books
Friday, April 21, 2006

LoVid will break out family style, performing with Coat of Embrace, a portable wearable version of their AV synthesizer. Coat of Embrace is functionally related to LoVid's previous AV synth, Sync Armonica, and draws on concepts and feel developed in the VideoWear, while getting middle ages preliterate, real old school. This tactile instrument presents LoVid's thoughts regarding the place of machines in contemporary daily life and reflects on their own use of technology as an extension of their bodies and partnership. Using homemade electronic devices and DIY sculptural instruments, LoVid overwhelms the senses with new media in their performances, videos, objects, and installations. LoVid has performed and exhibited throughout the US and Europe, including New York Underground Film Festival, Futuresonic Festival, UK, The Kitchen, NY, Institute of Contemporary Art London, and The New Museum, NY. LoVid is a free103point9 transmission artist.    

at Domy Books
Friday, April 21, 2006

Jona Bechtolt is a technological multi talent. His sound and video production can be found generously scattered throughout the internet, and in numerous popular live incarnations. With his project, YACHT, he makes textural dance-based compositions and performances, described by some as a "positive energy rainbow dome music from a next-generation west coast healer." He documents its movement via video, text, and images on his deeply archival and well-maintained blog,  month he was commissioned for two performances for the New York based art and technology platform,, as part of their Laptops vs Craptops show in Brooklyn, New York.      

My Robot Friend
at The Orange Show Center for Visionary Art

Saturday, April 22, 2006

My Robot Friend is no ordinary electro rock act. This is no ordinary act full-stop. Where as science fiction (and indeed robots) have always played a part in the presentation and mythology of techno and electronic music, the figure on stage is far from being cliché. Looking like a character from the ‘80s computer-enhanced film ‘Tron’ tangled up with a well-lit Christmas tree, My Robot Friend ambles around in front of his audiences powered by a neon-lit 30 pound battery pack.   

In the Shattered Mind Of A Poisoned Ogre by Nate Boyce 
at The Orange Show Center for Visionary Art
Saturday, April 22, 2006

In the Shattered Mind Of A Poisoned Ogre is a visualization of what is seen through the eyes of a virtual ogre awakened after centuries of hibernation deep in the chasms of the “Ogre Zone.”  Nate Boyce is a San Francisco-based artist whose creations involve mythological creatures, pop culture references, video game scenarios, and stroboscopic abstraction. He works mainly in Jitter/Max MSP to enable his highly-charged visual kinetics and driving electronic soundscapes, simultaneously future-forward and nostalgic for 1970s era video art.--Nick Hallett.

What Do You Thinx of Madeline Minx, Madeline Minx
at DiverseWorks Art & Performance Space
Sunday, April 23, 2006

Join performance artist/singer/songwriter/filmmaker Madeline Minx as she mocks her desperate attempts at celebrity, airing the details of her life as a struggling pop star plagued with personal problems and a relentless longing for fame. This multimedia performance evolved out of her weekly cable access TV show Pushy TV, which was dubbed "The Real World with more attitude and neuroses" by the SF Weekly; she was later commissioned by New Langton Arts in San Francisco to develop a live version of the show.  This performance, which integrates live music performance, comedy, and video clips, is a progression of the journey to find herself, or at least get famous trying. Self-described as a neurotic Lucille Ball with a perverted sexpot twist, Minx is also the lead singer of the poptronica project 'Madeline Minx' formerly known as Pushy, and creator of the feature documentary-in-progress Get Pushy, for which she will be documenting this performance.


Media Archeology: Live Cinema
April 13-17, 2005

Curated by Ed Halter

Animal Charm: Open Soars
at Aurora Picture Show
Wednesday, April 13, 2005

Animal Charm scrambles media codes, creating a kind of tic-ridden, convulsive montage, their disruptive gestures often re-investing conventional forms with subversive meanings. They dive the dumpsters of film and video production companies and scrap through countless hours of industrial documentary and corporate footage, often editing the tapes in a live mix session before an audience.  Animal Charm is Jim Fetterley and Rich Bott. Jim Fetterley is the Production Manager in the Graduate Film Directing Program in the School of Film & Video at the California Institute of the Arts in Valencia, CA. Rich Bott is a Projectionist and Audio Visual Specialist in the Media Services Department at the Art Center College of Design in Pasadena, CA. Together, they share a home and studio in Solano Canyon in beautiful Los Angles, where they practice their own brand of primitive communism. 

Wet Gate
at Barnevelder Movement/Arts Complex
Thursday, April 14, 2005

Using nothing but film projectors and loops and a handful of simple electronic processors, Wet Gate - Peter Conheim, (Mono Pause and Negativland), Steven Dye (The Dactyls of Phrygia and Epic), and Owen O'Toole - the San Francisco Bay Area's renowned all-16mm-projector performing ensemble, creates a vivid sound and visual montage of epic proportions. Found footage, materials shot by the band, and completely abstracted loops (made by scratching, rubbing, bleaching, or applying adhesive patterns to film stock) are broken into shards using special mirrors, thrown at obtuse angles around the performance space, or simply presented as-is. The live soundtrack comes entirely from the performance of the film itself; no outside sources of any kind are used. Cinema for the ear as well as the eye. Wet Gate is Peter Conheim, Steven Dye and Owen O’Toole. They have performed at Film Arts Foundation Festival, San Francisco, CA; SoundCulture, Berkeley, CA; Taos Talking Pictures Festival, Taos, NM; Chicago Underground Film Festival, Chicago, IL; Sound Unseen Film/Music Festival, Minneapolis, MN; Mine-cine, Shreveport, LA; and San Francisco Museum of Modern Art.

Paper Rad, Extreme Animals and Cory Arcangel: HTM-HELL
at Mixture Contemporary
Friday, April 15, 2005

In this performance, Cory Arcangel, Jacob Ciocci, and David Wightman engage in a LIVE HTML BATTLE to save the internet. Can Hypertext Markup Language translate into entertainment? Find out, as they explore the internet in new and exciting ways. These artists are presenting their recent creative output in the form of awkward PowerPoint presentations, messed-up, scary, seizure-inducing cartoons, hacked Nintendo cartridges, crunk dance routines set to general MIDI acid-house booty rave, and a brief lecture about local hip-hop legend DJ SCREW.  Cory Arcangel has shown his work in the 2004 Whitney Biennial, MOMA, The New Museum of Contemporary Art, the Guggenheim Museum, and at the Royal Academy in London. This January he launched, a search engine which only yields results about Doogie Howser, M.D and a new piece of software called T.A.C. (Total Asshole Compression), a program which increases the size of any file passed through it.  Jacob Ciocci is a founding member of Paper Rad. His hi-NRG nerds-gone-wild live performances have taken place at the Museum of Contemporary Art in Chicago, Deitch Projects in New York, and Chela Gallery in Baltimore, as well as in numerous basements, warehouses, bedrooms and kitchens across the east coast and mid-west. David Wightman has toured the nation five times with the spazz duo, Extreme Animals. With this group he has released recordings on Scratch 'n' Sniff Entertainment, Breaking World Records, and Frequenc. He is a member of the RFDA Label which releases recordings ranging from DJ mixes to contemporary classical compositions to noise explosions.

The MVP Network Stars: TV Sheriff and The Trailbuddies
at The Orange Show Center for Visionary Art
Saturday, April 16, 2005

The MVP Network Stars present their current live musical video mixing cavalcade showdown, TV Sheriff and the Trailbuddies. These wild western videomaniacs play synchronized audio/video clips on their TV Instruments from what they consider is the best and worst in television, film and video media. Davy Force! a.k.a. TV Sheriff is an electronic musician, voice and animation artist. He is the creator of the Anti-mercial, an underground version of remixed and reanimated commercials (“Hypno-Chicken 2000) and live avant-garde performances of interactive animation video and music. His opening title sequence for the Anna Nicole Show was nominated for an Emmy Award in 2003. Doug Lussenhop a.k.a. Douggpound has exhibited at Heaven, Chicago; Select Media Festival; VHS Festival, Rotterdam; Chicago International Children’s Film Festival; Puerto Rico ’02; the International Festival of New Film, Split, Croatia; PS-1; and Z Film Festival.

People Like Us

at DiverseWorks Art Space

Sunday, April 17, 2005

This live cinema performance is an exploration into the world of cut and paste audio/visual collage, where found footage is recontextualized with a surrealistic edge. Forever shifting, People Like Us, take you on a layered journey to the center of your imagination.  People Like Us is Vicki Bennett, a one-woman multi-media artist, who has since 1992 been making audio works, radio programs, and later audio/visual multimedia. In live performance, PLU’s appropriated sounds and images co-mingle, giving way to new meaning and multiple worlds. The result is a labyrinthine universe of alchemical mystery where equal measures of lighthearted humor and sinister satire create a balanced art.  Bennett has presented and performed at the Tate Modern, The Purcell Room, The ICA, Royal College of Art, Sydney Opera House, The Pompidou Centre, Toronto Images Festival, New York Underground Film Festival, Walker Art Center and UC Davis. Bennett has also had live appearances/sessions for John Peel and BBC Radio 3's 'Mixing It'. In addition to this, she does an ongoing weekly experimental arts radio show on the freeform New York radio station WFMU, called "DO or DIY."

Media Archeology: 16mm Film Collector's Screening Series
April 15-18, 2004

Four days of screenings (Thursday through Sunday) at Aurora Picture Show, Museum of Fine Arts, Houston, Rice Media Center, and Alamo Drafthouse. One panel discussions at Rice Media Center on Sunday.
In the past two decades, there has been a dramatic increase in privately owned 16mm film collections. As 16mm holdings were being phased out of public libraries and school systems, film enthusiasts, hobbyists, and archivists like Rick Prelinger began rescuing them from extinction. These private collectors recognized the importance these 20th century documents‹home movies, educational and training films, propaganda films, public domain materials, ethnographic films, silent films, medical films, and newsreels‹as irreplaceable celluloid history. As a testament to their significance, the entire privately owned Prelinger (film) Archive was acquired by The Library of Congress in August 2002.
The Media Archeology series will bring the following 16mm film collectors to Houston: Rick Prelinger, Prelinger Archives, San Francisco, CA; Stephen Parr, San Francisco Media Archive, Oddball Film and Video, San Francisco, CA; Karen Ciccone and Valarie Schwan, People of the Pavement, Durham, NC and Pasadena, CA; Greg Pierce, Orgone Cinema, Pittsburgh, PA; Skip Elsheimer, A/V Geeks, Raleigh, NC, Liz Keim, The Exploratorium, San Francisco, CA; and Geoff Alexander, Academic Film Archive of North America, San Jose, CA. These collectors have presented their films at American Museum of the Moving Image, Stanford University, UCLA, Columbia University, and University of South Carolina, and festivals nationwide.
Each of these collectors specializes in a unique film genre including the classroom academic film, stock footage, educational and training films, science films, advertising, industrial, amateur, and found home movies.
Caretakers of local and regional film collections (Menil Collection Library, University of North Texas Film and Video Library, Houston Public Library System) will be surveyed for their input during the planning stages of this project. Audience members will be invited to participate in discussions of film as cultural artifact, intellectual property issues, film handling, archiving, and storage. A color pamphlet with film stills from the collections and statements by each film collector will be printed.      

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