DOCSLIB.ORG

The Screen As a Site of Division and Encounter

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Screen As a Site of Division and Encounter This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Thesis Title: The screen as a site of division and encounter Creators: Marchevska, E. Example citation: Marchevska, E. (2012) The screen as a site ofR division and encounter. Doctoral thesis. The University of NorthampAton. Version: Accepted version http://nectarC.northampTton.ac.uk/6130/ NE The screen as a site of division and encounter Submitted for the Degree of Doctor of Philosophy At the University of Northampton Year 2012 Elena Marchevska © Elena Marchevska, 20th of November, 2012. This thesis is copyright material and no quotation from it may be published without proper acknowledgement. 1 Contents ACKNOWLEDGMENTS ............................................................................................. 5 PRELUDE OR HOW TO READ THIS THESIS ........................................................... 7 THE SCREEN, THE PAGE, THE WINDOW ............................................................. 12 Diary entry, Day 4 ........................................................................................................................ 15 1.1 . RESEARCH STRATEGY ....................................................................................................... 15 1.1.1. Practice as research ......................................................................................... 16 1.1.2. Field review (contextual analysis) ..................................................................... 18 1.1.3. Performative reflective writing – auto-ethnographic strategy ............................ 18 1.2 KEY TERMS / WORDS ........................................................................................................... 20 1.2.1. An approach to the screen as site .................................................................... 22 1.2.2. An approach to the border as encounter .......................................................... 24 1.2.3. An approach to personal as political ................................................................. 26 1.3 CHAPTER OUTLINE .............................................................................................................. 28 THE SCREEN AS A BORDERING SITE .................................................................. 31 2.1 PLACING THE RESEARCH ..................................................................................................... 31 2.1.1. Living in a terminal ............................................................................................ 31 2.1.2. The screen as a site of/for reflection ................................................................. 35 2.1.3. Reflective screens ............................................................................................. 37 2.1.4. Into the screen .................................................................................................. 38 Diary entry, Day 129 .................................................................................................................... 40 2.2 FIELD REVIEW, PART 1. ........................................................................................................ 42 2.2.1. Guillermo Gómez-Peña and the screen as a border ........................................ 42 Diary entry, Day 98 ...................................................................................................................... 45 2.2.2. Ana Mendieta and the tracing of borders .......................................................... 46 2.2.3. Performing the crossing – Coco Fusco, NSK and Tanja Ostojić ...................... 49 Diary entry, Day 91 ...................................................................................................................... 55 2.3 BETWEEN CROSSINGS – BODIES ON THE LINE ........................................................................ 55 BORDERS WITH/IN SCREEN .................................................................................. 57 3.1 ASSEMBLAGE AS A PROCESSUAL APPROACH – FROM THEORY TO PRACTICE ............................ 58 3.1.1. Theoretical overview of assemblage as method ............................................... 58 3.1.2. Concept applied in my practice ......................................................................... 60 3.2 ASSEMBLING THE PRACTICE – PAR APPROACH ..................................................................... 61 3.3 EVOCATIVE AUTOETHNOGRAPHY .......................................................................................... 63 3.3.1. Autoethnography between autotopography and autobiometry ......................... 65 3.3.2. Autoethnographic practice in the context of mobile-imaging ............................ 68 3.3.3. Assembling the autoethnographic processual practice in the Practice as Research context ............................................................................................................... 70 3.3.4. Performative walks as an assemblage ............................................................. 72 3.4 THE PROCESS ..................................................................................................................... 73 3.4.1. Walking ............................................................................................................. 73 3.4.2. Performing ........................................................................................................ 76 3.5 VALID UNTIL… .................................................................................................................... 78 Diary entry, Day 43 ...................................................................................................................... 80 3.6 WHAT THIS PROCESS BRINGS ............................................................................................... 81 Diary entry Day 134 ..................................................................................................................... 81 ENCOUNTERING THE SCREEN ............................................................................. 84 4.1 EXTENDING THE RESEARCH SCOPE OR HOW THE BODY BECAME A BORDER ............................ 84 Diary entry, Day 86 ...................................................................................................................... 87 2 4.2 FIELD REVIEW, PART 2 ......................................................................................................... 89 4.2.1. Split body – Ana Mendieta in-between two cultures ......................................... 89 Diary entry, Day 126 .................................................................................................................... 91 Letter to my daughter, Number 56 ............................................................................................ 93 4.2.2. Waiting in line – Bracha Ettinger and the borderlinking .................................... 94 Diary entry, Day 74 ...................................................................................................................... 96 4.2.3. The screen as a division, the screen as an encounter-Landau’s wire .............. 99 Letter to my daughter Number 76 ........................................................................................... 101 4.2.4. Lines, dots, borderlines – Alys and Almeida drawing lines with body ............. 101 4.3 LINE AS ELEMENT OF THE PROCESS ................................................................................... 104 4.3.1. Lines on the ground, lines on the skin ............................................................ 104 4.3.2. How the work on lines was developed ............................................................ 105 4.3.3. How the line can disappear ............................................................................. 106 INSIDE THE SCREEN, OUTSIDE THE HOME ...................................................... 107 Letter to my daughter Number 56 ........................................................................................... 108 5.1 MATERNAL AS ENCOUNTER ................................................................................................ 108 5.1.1. Encountering from inside - Susan Hiller observing pregnancy ....................... 110 5.1.2. Encountering from outside – Pipilotti Rist ....................................................... 112 Diary entry Day 124 ................................................................................................................... 114 5.2 MOTHERING AS A MIGRANT, BORDERING AS MOTHER ........................................................... 115 5.3 STITCH, SHADOW, GAP ...................................................................................................... 117 5.4 STICH AS ELEMENT ............................................................................................................ 118 Letter to my daughter Number 96 ........................................................................................... 119 5.4.1. Last place where we were together ................................................................ 120 Letter to my daughter Number 59 ........................................................................................... 122 5.4.2. Sewing the border ........................................................................................... 122 5.5 SHADOW AS ELEMENT - TRACING THE INVISIBLE .................................................................. 125 5.6 GAP AS ELEMENT
Load more

Recommended publications
  • Sabbatical Leave Report 2019 – 2020
    Sabbatical Leave Report 2019 – 2020 James MacDevitt, M.A. Associate Professor of Art History and Visual & Cultural Studies Director, Cerritos College Art Gallery Department of Art and Design Fine Arts and Communications Division Cerritos College January 2021 Table of Contents Title Page i Table of Contents ii Sabbatical Leave Application iii Statement of Purpose 35 Objectives and Outcomes 36 OER Textbook: Disciplinary Entanglements 36 Getty PST Art x Science x LA Research Grant Application 37 Conference Presentation: Just Futures 38 Academic Publication: Algorithmic Culture 38 Service and Practical Application 39 Concluding Statement 40 Appendix List (A-E) 41 A. Disciplinary Entanglements | Table of Contents 42 B. Disciplinary Entanglements | Screenshots 70 C. Getty PST Art x Science x LA | Research Grant Application 78 D. Algorithmic Culture | Book and Chapter Details 101 E. Just Futures | Conference and Presentation Details 103 2 SABBATICAL LEAVE APPLICATION TO: Dr. Rick Miranda, Jr., Vice President of Academic Affairs FROM: James MacDevitt, Associate Professor of Visual & Cultural Studies DATE: October 30, 2018 SUBJECT: Request for Sabbatical Leave for the 2019-20 School Year I. REQUEST FOR SABBATICAL LEAVE. I am requesting a 100% sabbatical leave for the 2019-2020 academic year. Employed as a fulltime faculty member at Cerritos College since August 2005, I have never requested sabbatical leave during the past thirteen years of service. II. PURPOSE OF LEAVE Scientific advancements and technological capabilities, most notably within the last few decades, have evolved at ever-accelerating rates. Artists, like everyone else, now live in a contemporary world completely restructured by recent phenomena such as satellite imagery, augmented reality, digital surveillance, mass extinctions, artificial intelligence, prosthetic limbs, climate change, big data, genetic modification, drone warfare, biometrics, computer viruses, and social media (and that’s by no means meant to be an all-inclusive list).
    [Show full text]
  • Deutsche Nationalbibliografie 2019 T 10
    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2019 T 10 Stand: 02. Oktober 2019 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2019 ISSN 1613-8945 urn:nbn:de:101-201811221908 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.
    [Show full text]
  • 80S 697 Songs, 2 Days, 3.53 GB
    80s 697 songs, 2 days, 3.53 GB Name Artist Album Year Take on Me a-ha Hunting High and Low 1985 A Woman's Got the Power A's A Woman's Got the Power 1981 The Look of Love (Part One) ABC The Lexicon of Love 1982 Poison Arrow ABC The Lexicon of Love 1982 Hells Bells AC/DC Back in Black 1980 Back in Black AC/DC Back in Black 1980 You Shook Me All Night Long AC/DC Back in Black 1980 For Those About to Rock (We Salute You) AC/DC For Those About to Rock We Salute You 1981 Balls to the Wall Accept Balls to the Wall 1983 Antmusic Adam & The Ants Kings of the Wild Frontier 1980 Goody Two Shoes Adam Ant Friend or Foe 1982 Angel Aerosmith Permanent Vacation 1987 Rag Doll Aerosmith Permanent Vacation 1987 Dude (Looks Like a Lady) Aerosmith Permanent Vacation 1987 Love In An Elevator Aerosmith Pump 1989 Janie's Got A Gun Aerosmith Pump 1989 The Other Side Aerosmith Pump 1989 What It Takes Aerosmith Pump 1989 Lightning Strikes Aerosmith Rock in a Hard Place 1982 Der Komimissar After The Fire Der Komimissar 1982 Sirius/Eye in the Sky Alan Parsons Project Eye in the Sky 1982 The Stand Alarm Declaration 1983 Rain in the Summertime Alarm Eye of the Hurricane 1987 Big In Japan Alphaville Big In Japan 1984 Freeway of Love Aretha Franklin Who's Zoomin' Who? 1985 Who's Zooming Who Aretha Franklin Who's Zoomin' Who? 1985 Close (To The Edit) Art of Noise Who's Afraid of the Art of Noise? 1984 Solid Ashford & Simpson Solid 1984 Heat of the Moment Asia Asia 1982 Only Time Will Tell Asia Asia 1982 Sole Survivor Asia Asia 1982 Turn Up The Radio Autograph Sign In Please 1984 Love Shack B-52's Cosmic Thing 1989 Roam B-52's Cosmic Thing 1989 Private Idaho B-52's Wild Planet 1980 Change Babys Ignition 1982 Mr.
    [Show full text]
  • Close Listening Mira Schor and Charles Bernstein August 23, 2009
    COVER FEATURE Close Listening MIRA SCHOR AND CHARLES BERNSTEIN august 23, 2009 N PROVINCETOWN LAST SUMMER, poet Charles Bernstein interviewed Mira Schor for his Art Interna- tional Radio program, Close Listening. In the first of two half-hour programs, Schor read brief excerpts from several of her essays: “Figure/Ground” from Wet, and “Email to a Young Woman Artist,” “Recipe Art,” and “Modest Painting” from A Decade of Nega- tive Thinking. The original programs can be accessed at ARTonAIR.org and at PennSound (writing.upenn. Iedu/pennsound). ABOVE: MIRA SCHOR, 2009 PHOTO BY JULIA DAULT OPPOSITE: PROVINCETOWN STUDIO WALL, 2007 40 PROVINCETOWNARTS 2010 CHARLES BERNSTEIN: You started with a reading from the axiomatic, this critical oligarchy, to use your term, doesn’t exist your essay “Figure/Ground” from Wet and you brought anymore, nobody subscribes to that. Anybody who says that shouldn’t be listened to. We’ll have no part of them! We must exclude them! They up again this image of wet. You mentioned Duchamp as a are ignorant!” So exactly exemplifying the continuation by the denial, counterexample, but I don’t think Duchamp is really the dry which I think was quite funny. artist that is your target there. Could you revisit that for a Exactly. Whereas, in fact, they are incredibly well-trained clones of the second, coming back twenty years later? original. It’s like the Invasion of the Body Snatchers—they are clones. “We are not clones. We are independent thinkers.” [Here and MIRA SCHOR: I’m not sure that Duchamp requires defend- just below, Charles is speaking in the voice of a robot, or a person ing.
    [Show full text]
  • Exposed Neon Channel Letter
    Channel Letters Eye catching by standing out! A channel letter is a 3-D component in signage. Typically these are used on the store front. A “can” is made in the shape of your logo or lettering with aluminum, acrylic and internal illumination. The back side of the can is cut using the design created by our art staff and then sent to a computerized router table. This gives a precise shape for the finished “Channel”. Sides or “Returns” are then formed from aluminum strips to give the letter its depth. The returns are then fastened to the back with rivets or weld. The face for our Channel Letter is also cut utilizing our CAD/CAM router and then finished with “Trim Cap” providing a framed appearance and a mounting surface to attach to the channel. The Channel can then be lighted using Neon tubing, LED’s or Fluorescent lamps depending on the letters size, power requirements or city regulations. ________________________________________________________________ Exposed neon channel letter Another style of channel letters is made without a face or with clear faces to showcase to Neon lighting. ________________________________________________________________________ Reverse lit channel letter Yet another letter type is the Reverse Channel Letter when the face of the letter is built from aluminum or other opaque material and the lighting is exposed from the back side. This light floods the wall that the letter is mounted to. These are also called "halo effect letters". Neon 100’s of effective colors! Neon signs are made using electrified, luminous tube lights that contain neon or other gases.
    [Show full text]
  • Songs by Title Karaoke Night with the Patman
    Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P.
    [Show full text]
  • THE COUPLE in the CAGE: a Guatinaui ODYSSEY RUTH BEHAR and BRUCE MANNHEIM
    IN DIALOGUE: THE COUPLE IN THE CAGE: A GuATINAUI ODYSSEY RUTH BEHAR AND BRUCE MANNHEIM The Society for Visual Anthropology sponsored a credulity of the visitors with regard to the "authenticity" screening of the video The Couple in the Cage: A of the two Guatinaui. Guatinaui Odyssey, by Coco Fusco and Paula Heredia, Anthropologists on the staff of the Smithsonian at the 1994 American Anthropological Association Institution and Field Museum concerned with raising (AAA) meetings in Atlanta. The video is based upon the viewer consciousness about issues of representation perfonnance piece Two Undiscovered Amerindians and the colonial legacy of displays in museums of Visit [Washington, Chicago, Syndey, etc.] created by natural history were instrumental in convincing mu­ the MacArthur award-winning performance artist, seum administrators that it was appropriate to sponsor Guillenno Gomez-Pena and cultural critic and artist the perfonnance-itself a parody of the former mu­ Coco Fusco. The two artists portray a man and a woman seum practice of putting non-Western peoples on dis­ from the remote (imaginary) Caribbean island of play as museum exhibits. But some viewers were Guatinaui. Conceived of as part of a larger counter­ outraged that museums allowed such an event to be cultural event entitled "The Year of the White Bear" performed inside the walls of institutions supposedly perfonned during the Quincentenary yearof Columbus's dedicated to "science" and "truth." "discovery" of the New World, the performance piece Anthropologists and others who came to viewThe was meant to be a critical commentary on the long­ Couple in the Cage at the AAA meetings had an standing Western practice of objectifying and distanc­ opportunity to discuss the question of what relationship ing the Other through spectatorship, in particular, cultural critiques such as the performance ofTwo Un­ through .museums· exhibitions of "primitive" peoples.
    [Show full text]
  • Fresh Meat Rituals: Confronting the Flesh in Performance Art
    FRESH MEAT RITUALS: CONFRONTING THE FLESH IN PERFORMANCE ART A THESIS IN Art History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS By MILICA ACAMOVIC B.A., Saint Louis University, 2012 Kansas City, Missouri 2016 © 2016 MILICA ACAMOVIC ALL RIGHTS RESERVED FRESH MEAT RITUALS: CONFRONTING THE FLESH IN PERFORMANCE ART Milica Acamovic, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2003 ABSTRACT Meat entails a contradictory bundle of associations. In its cooked form, it is inoffensive, a normal everyday staple for most of the population. Yet in its raw, freshly butchered state, meat and its handling provoke feelings of disgust for even the most avid of meat-eaters. Its status as a once-living, now dismembered body is a viscerally disturbing reminder of our own vulnerable bodies. Since Carolee Schneeman's performance Meat Joy (1964), which explored the taboo nature of enjoying flesh as Schneeman and her co- performers enthusiastically danced and wriggled in meat, many other performance artists have followed suit and used raw meat in abject performances that focus on bodily tensions, especially the state of the body in contemporary society. I will examine two contemporary performances in which a ritual involving the use of raw meat, an abject and disgusting material, is undertaken in order to address the violence, dismemberment and guilt that the body undergoes from political and societal forces. In Balkan Baroque (1997), Marina Abramović spent three days cleansing 1,500 beef bones of their blood and gristle amidst an installation that addressed both the Serbo-Croatian civil war and her personal life.
    [Show full text]
  • Converting Fluorescent Or Neon Signs to Energy-Efficient LED Illumination
    A brighter idea? Converting fluorescent or neon signs to energy-efficient LED illumination epending on the type of your interior or exterior lighted sign, it may very Dwell pay to update its illumination to energy-efficient light-emitting diodes or LED LEDs. Thousands have found the value in retrofitting, including one nationwide chain of thousands of convenience stores. But is it right for you? Here are some considerations. LED advantages over fluorescent lighting and able to withstand shock and vibration. In contrast, neon, which is encased in glass, breaks relatively easily Some estimate that illumination via light-emitting diodes during transportation and installation, and is subject to the over fluorescent bulbs can reduce sign maintenance and same hazards of wind and weather as fluorescent bulbs. energy costs by up to 80 percent. Disposal, too, may be a concern. Neon signs contain Begin by considering the expenses of repairs. As solid- mercury, which is hazardous to the environment. state devices with no moving parts, filaments or glass, LEDs are remarkably durable and maintenance-free. Not Then there’s energy use, which favors light-emitting so with fluorescent bulbs. They are significantly more diodes hands down. LEDs have a lifetime energy savings fragile than LEDs—making them prone to breakage during of up to 40 percent over neon! transportation and installation or when exposed to strong One other factor gives the nod to light-emitting diodes winds or heavy storms. over neon, and that’s cold-weather performance. LED While the cost of a replacement fluorescent light is minimal, modules stay brighter in cold weather, where neon sign the sign owner must often not only pay for a service call and brightness can drop dramatically when temperatures fall perhaps a bucket truck, but also for the environmentally safe below 35 degrees Fahrenheit, thereby negating much of disposal of the bulb, which contains toxic mercury.
    [Show full text]
  • Lilian Tone | William Kentridge | Stereoscope
    Lilian Tone | William Kentridge | Stereoscope William Kentridge: Stereoscope Lilian Tone The filmed drawings, or drawn films, of William Kentridge inhabit a curious state of suspension between static to time-based, from stillness to movement. These "drawings in motion" undergo constant change and constant redefinition, while the projection of their luscious charcoal surfaces somehow retains an almost tangible tactility. Smoky grounds and rough-hewn marks morph into an incessant, though not seamless, flow of free association that evokes the fleeting hypnagogic images that precede sleep. Bodies melt into landscape; a cat turns into a typewriter, into a reel-to-reel recorder, into a bomb; full becomes void with the sweep of a sleeve. The allure of Kentridge's animations lies in their unequivocal reliance on the continuing present, in the uncanny sense of artistic creation and audience reception happening at once. Kentridge's films owe their distinctive appearance to the artist's home-made animation technique, which he describes as "stone-age filmmaking." Each of his film-related drawings represents the last in a series of states produced by successive marks and erasures that, operating on the limits of discernibility, are permanently on the verge of metamorphosis. The animations are painstakingly built by photographing each transitory state, as traces accumulate on the paper surface, each final drawing a palimpsest containing the memory of a sequence. The result is a projected charcoal drawing where the line unfolds mysteriously on the screen, with a will of its own, the artist's hand unseen. In the 1950s, filmmakers Stan van der Beek and Robert Breer's time paintings sought to document the creation of paintings on camera.
    [Show full text]
  • Schor Moma Moma
    12/12/2016 M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking­3 H O M E A B O U T L I N K S Browse: Home / 2016 / December / 09 / M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking­ CONNE CT 3 Mira's Facebook Page DE CE MBE R 9 , 2 0 1 6 Subscribe in a Reader Subscribe by email M/E/A/N/I/N/G: The Final Issue on A Year of Positive Thinking­3 miraschor.com The first issue of M/E/A/N/I/N/G: A Journal of Contemporary Art Issues, was published in December 1986. M/E/A/N/I/N/G is a collaboration between two artists, TAGS Susan Bee and Mira Schor, both painters with expanded interests in writing and 2016 election Abstract politics, and an extended community of artists, art critics, historians, theorists, and Expressionism ACT­UAW poets, whom we sought to engage in discourse and to give a voice to. Activism Ana Mendieta Andrea For our 30th anniversary and final issue, we have asked some long­time contributors Geyer Andrea Mantegna Anselm and some new friends to create images and write about where they place meaning Kiefer Barack Obama CalArts craft today. As ever, we have encouraged artists and writers to feel free to speak to the Cubism DAvid Salle documentary concerns that have the most meaning to them right now. film drawing Edwin Denby Facebook feminism Every other day from December 5 until we are done, a grouping of contributions will Feminist art appear on A Year of Positive Thinking.
    [Show full text]
  • Plasma Display Documentation
    Plasma Displays & Inert Gas Discharge Tubes (IGDT) By: William J. Boucher mailto:[email protected], http://www.mnsi.net/~boucher/index.htm Created: July 24, 1999, Revised: Aug. 23, 2000 Foreword: I learned about plasma displays many years ago when I was intensely fascinated with the genius of Nikola Tesla. My personal fascination with plasma filaments began when I saw such things in sci-fi movies. I had always assumed it was some sort of special effect, but when I saw the movie My Science Project, which featured a large portable and obviously real display, my interest peaked. I started reading about them at every opportunity but detailed theory was really hard to come by, until I found out about Nikola Tesla. He invented the inert gas discharge tube (IGDT), high voltage power supplies, electromechanical machines of every type and practically everything else that has rushed the human race into the space age in just a single century. About 10 years ago, I built my first plasma display based on what I'd learned from Tesla’s work. I used to take it to mall shows and schools and such to show it off. There was always a line-up to see it. I loved it. A couple years after that, you could buy several models in stores. The most popular being Rabbitt Industry’s Eye of the Storm, which sold first in the Consumers chain stores. Unfortunately, neither that store nor the product still exists. Radio Shack still sells a small one, but it's pretty lame compared to mine because it is quite small and relatively weak.
    [Show full text]