Editors' Notes

Maria Damon and Michelle Greenblatt
Jim Leftwich and Michelle Greenblatt
Sheila E. Murphy and Michelle Greenblatt

A Visual Conversation on Michelle Greenblatt's ASHES AND SEEDS with Stephen Harrison, Monika Mori | MOO, Jonathan Penton and Michelle Greenblatt

Letters for Michelle: with work by Jukka-Pekka Kervinen, Jeffrey Side, Larry Goodell, mark hartenbach, Charles J. Butler, Alexandria Bryan and Brian Kovich

Visual Poetry by Reed Altemus
Poetry by Glen Armstrong
Poetry by Lana Bella
A Eulogic Poem by John M. Bennett
Elegic Poetry by John M. Bennett
Poetry by Wendy Taylor Carlisle
A Eulogy by Vincent A. Cellucci
Poetry by Vincent A. Cellucci
Poetry by Joel Chace
A Spoken Word Poem and Visual Art by K.R. Copeland
A Eulogy by Alan Fyfe
Poetry by Win Harms
Poetry by Carolyn Hembree
Poetry by Cindy Hochman
A Eulogy by Steffen Horstmann
A Eulogic Poem by Dylan Krieger
An Elegic Poem by Dylan Krieger
Visual Art by Donna Kuhn
Poetry by Louise Landes Levi
Poetry by Jim Lineberger
Poetry by Dennis Mahagin
Poetry by Peter Marra
A Eulogy by Frankie Metro
A Song by Alexis Moon and Jonathan Penton
Poetry by Jay Passer
A Eulogy by Jonathan Penton
Visual Poetry by Anne Elezabeth Pluto and Bryson Dean-Gauthier
Visual Art by Marthe Reed
A Eulogy by Gabriel Ricard
Poetry by Alison Ross
A Short Movie by Bernd Sauermann
Poetry by Christopher Shipman
A Spoken Word Poem by Larissa Shmailo
A Eulogic Poem by Jay Sizemore
Elegic Poetry by Jay Sizemore
Poetry by Felino A. Soriano
Visual Art by Jamie Stoneman
Poetry by Ray Succre
Poetry by Yuriy Tarnawsky
A Song by Marc Vincenz

Join our Facebook group!

Join our mailing list!

by Amy Alexander, Annina Rüst, and Cristyn Magnus

At the heart of Discotrope is an unconventional projection system: a disco ball that has been modified to use solar cells as mirrors. The ball rotates slower or faster according to how much light reaches the solar cells on the ball and creates fragmented projections on surrounding walls, floors, surfaces and people. We've written custom software to project videos onto the ball and have developed a live audiovisual performance around the system.

The concept springs from the genre of YouTube clips of people dancing at (directly in front of) a camera. With the advent of social media, this type of video has become a phenomenon, with countless people recording themselves dancing and sharing the results through social media platforms. In our performance, we trace this type of dance video back throughout film history.

A selection of Discotrope performances may be found at http://discotrope.org/?page_id=47.

Amy Alexander is a software and audiovisual performance artist who has worked in film, video, music performance and stand-up comedy, as well as in digital media art. Her work combines her backgrounds in performance and visual rhythms with new media. She is an Associate Professor of Visual Arts: Computing at the University of California, San Diego. Amy's work has been presented on the Internet, in clubs and on the street as well as in festivals and museums. She is a founder of the Runme.org software art repository, and she has published texts about both software in popular culture and audiovisual performance history. Her work has been performed and exhibited at venues including ISEA, Ars Electronica, Transmediale, Read Me, SIGGRAPH, and the Whitney Museum. Amy holds an MFA in Film/Video from California Institute of the Arts and a BA from Rowan University. In summer/fall 2012, Amy was Artist-in-Residence at iotaCenter in Los Angeles. Check out Amy-Alexander.com.

Annina Rüst produces electronic objects and software art. Her projects explore the intersection of politics, activism, technology, humor, and pop culture. Her work has been shown in different public contexts including Ars Electronica, Transmediale, Read Me, the New Museum, and Edith Russ Haus. Annina holds a Diploma in New Media from the Zürich University of the Arts, an MFA in Visual Art from UC San Diego as well as an MS in Media Arts and Sciences from the MIT Media Lab. She is an Assistant Professor in the Department of Transmedia at Syracuse University. AnninaRuest.com.

Cristyn Magnus received her PhD in Music from University of California, San Diego in 2010, where she studied music technology with Miller Puckette and composition with Philippe Manoury and Rand Steiger. She has a Bachelors in Cognitive Science and her musical interests lie at the intersection of the two fields. She likes playing with algorithms and interactivity. Her work explores the way groups of performers, audience members, and computational agents interact to make music. She's written pieces for performers whose interactions are defined by rules with no computational mediation, pieces where sounds map onto video game controls so that the act of playing games will produce musical output, pieces for recorded sounds that exist as artificial life forms interacting in artificial worlds, and so on. See www.CMagnus.com.

Pin It       del.icio.us