Technology

2014

Transformers: Age of Extinction, the fourth installment of the Transformers movie franchise directed by Michael Bay, was released June 27 2014. But for months ahead of the release, on YouTube one could already access an immense trove of production footage recorded by amateurs in locations where the film was shot, such as Utah, Texas, Detroit, Chicago, Hong Kong and mainland China. Transformers: the Premake turns 355 YouTube videos into a critical investigation of the global big budget film industry, amateur video making, and the political economy of images.

2011
Videofreex, Tuned In, Turned On! Videofreex Tape the World

Formed in 1969 at the legendary Woodstock Music Festival by David Cort and Parry Teasdale, who met while taping the events with the newly available Portapak video equipment, the Videofreex (also known as "the Freex") were one of the very first video collectives. After working together to pitch a program to the major broadcasting station CBS, they toured the country interviewing counter-cultural figures of the day, including Fred Hampton, a leader of the Black Panther party, and Abbie Hoffman, so called leader of the Yippies.

2011
Daniel Eisenberg, Unstable Object, The

What do a luxury automobile, a cymbal, and a wall clock all have in common? What are the diverse attachments and experiences produced by those who make these things and those who consume them? What exchanges take place through the object itself—sensually, esthetically, abstractly? We often forget that most of the things we use are made by the labor of others, often in distant places, living dramatically different, diverse lives. What do these objects mean to them? How does their labor, their aspirations, their sense of alienation or satisfaction connect to ours?

2017
Waypoint, Follow, Orbit, Focus, Track, Pan

Every country employs specific techniques for disguising its soldiers, every army has developed its own camouflage uniforms. Croatia is one of the few countries in the world that uses a digitized shape of its own territory in its camouflage military design. Why? The question is not meant to be answered by human reason. It does not relate to the perception of human eyes. Night vision cameras, binoculars, heat detectors and drones have their own ways of seeing the world.

2017
Evan Meaney "+ + We Will Love You For Ever"

"This is an experimental virtual reality artwork, and while it offers opportunity for interaction, calling this a game goes too far. It is a disappointment simulator, a best-artist-ever-all-the-time artist simulator, a hospice simulator. The experience speaks to the art-making process, impostor syndrome, decay, archives on the moon, and a persistent exile."

— Evan Meaney

*Please note ++ We Will Love You For Ever requires either HTC Vive or Oculus Rift to operate.

2017
Jesse McLean "Wherever You Go, There We Are"

In this experimental travelogue, efforts to sound human and look natural instead become artifical. The scenery is provided through photo-chromed vintage postcards, displaying not only scenic North American landscapes but also the rise of infrastructure and industry. Aspiring to look more realistic by adding color to a black and white image, the postcards are instead documents of the fantastic.

1988
The Will to Provoke

Director Jonathan Reiss and cinematographer/editor Leslie Asako Gladsjo traveled to Europe with Survival Research Laboratories to produce this entertaining and challenging portrait of the innovative group of artist technicians. The tape shows their machines in action and provides insight to their inspirations, political objectives, and budgetary constraints. The tape also reveals SRL’s efforts to confound and confront their foreign audiences with an artform that is, perhaps, uniquely American.

1977
Gene Youngblood 1977: An Interview

1970 marked the publication of Gene Youngblood’s now-formative Expanded Cinema – a text that was instrumental in legitimizing video and new media as viable and serious artistic forms. Youngblood went on to a career in both practice and theory, making a life’s work of championing the uses of video towards both social and political ends. This interview, conducted at SAIC, comes seven years after the release of Expanded Cinema and details its author’s primarily philosophic concerns with the medium of video.