Jason Salavon
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Post Human Future Tense
Post-Human//Future Tense Essays Edited by Daniël Ploeger and Nicholas Sagan ISBN 978-0-557-90584-3 © 2010 the authors, artists, and PH//FT Press. Post-Human//Future Tense Exhibition was curated by Victoria Bradford, Michelle Graves, Nicolas Shawn Ruley and Nicholas Sagan. Juried by John Manning, Melissa Potter and Jason Salavon. Catalog essays were edited by Daniël Ploeger and Nicholas Sagan. Catalog layout and editing by Nicholas Sagan and Clifton Meador. Cover image: Andy Mattern, AC Remote Control. Photographs by Michelle Graves. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of the publisher. Published by PH//FT Press and Qoop.com Acknowledgements...................................................................................................P5 Curatorial Statement: The Edge of Obsolescence? by Nicolas Shawn Ruley............................................................................................p7 // Introduction: Being-Human as Evolving Memory: art and posthumanism in the present tense by Daniël Ploeger........................................................................................................p9 // Essays: Cautionary Tale of the Cyborg, Our Posthuman Identity by Nogin Chung........................................................................................................p17 Hybrid Voices, Other Bodies by Erin Gee..................................................................................................................p21 -
Widewalls Jason Salavon Exploration of the Visual Plane Soon at Mark
Dethal, Lor. “Jason Salavon Exploration of the Visual Plane Soon at Mark Moore Gallery”. Widewalls. January 2016. JASON SALAVON EXPLORATION OF THE VISUAL PLANE SOON AT MARK MOORE GALLERY The modern way of life has been undoubtedly shaped and choreographed by large networks and digital data. With an omnipresent digitized culture, the growth of visual capacity in such form has increased exponentially in the recent past, forming the social and technological landscape of today. We’ve seen a number of artists exploring the merits and consequences of the modern way of life, probing how it has affected inter-human relationships as well as individual consciousness. Analyzing the vast field of digital data, American contemporary artist Jason Salavon contributes to the exploration of modern culture, obsessions and mannerisms through the display of his latest work. Presenting 14 new pieces based on computer processing, which can lead to some amazing art pieces, the solo exhibition in the Mark Moore Gallery by Jason Salavon titled All The Ways opens in February. New Perspectives on Familiar Born in Indiana in 1970, Jason Salavon earned his MFA at The School of the Art Institute of Chicago and his BA from The University of Texas at Austin. He taught at The School of the Art Institute of Chicago, and is currently associate professor in the Department of Visual Arts and the Computation Institute at the University of Chicago. Having been employed as an artist and programmer in the video game industry for several years, Salavon developed a unique perspective and understanding of the digital reality, ultimately using computer software of his own design in order to reconfigure preexisting media and data to create new visual works of fine art. -
Jason Salavon
JASON SALAVON Education 1997 Master of Fine Arts, The School of the Art Institute of Chicago 1993 Bachelor of Arts, The University of Texas at Austin Solo Exhibitions 2013 Eight Modern, Santa Fe, NM, Jason Salavon: Chance Animals, July 19 – September 1. The Taubman Museum of Art, Roanoke, VA, Jason Salavon: A Seamlessness Between Things, June 15 – August 31. Ronald Feldman Fine Arts, New York, NY, Control, February 23 - March 30. 2012 Mark Moore Gallery, Culver City, CA, Tragedy of the Commons, April 14 – May 19. 2010 Ronald Feldman Fine Arts, New York, NY, Old Codes, April 8 - May 8. Tony Wight Gallery, Chicago, IL Old Codes, March 13 – April 10. 2009 Hyde Park Art Center, Chicago, IL Spigot (Oracle’s reflection), September 23 – February 6. 2008 Columbus Museum of Art, Columbus, OH, Currents: Jason Salavon, January 18 – May 4. Mark Moore Gallery, Los Angeles, CA, Jason Salavon, November 1 – December 20. Inman Gallery, Houston, TX, Annex and Catalogue, May 30 – July 5. 2007 Gaain Gallery, Seoul, Korea, Jason Salavon, March 2 – April 1. 2006 National Portrait Gallery, Washington, D.C., Portraiture Now, July 1 – January 7. Galerie Kusseneers, Cologne, Germany, Art Cologne, November 1 – 5. 2005 List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, MA, The Late Night Triad, December 17 – January 30. Rockford Art Museum, Rockford, IL, Jason Salavon, October 14 – January 8, 2006. Inman Gallery, Houston, TX. Emblem, April 8 – May 14 2004 f a projects, London, UK, The Late Night Triad, May 14 – June 12. Earl Lu Gallery, LASALLE-SIA College of the Arts, Singapore, Jason Salavon: Brainstem Still Life, July 28 – August 29. -
Annual Report 2013-2014
The Museum of Fine Arts, Houston Arts, Fine of Museum The μ˙ μ˙ μ˙ The Museum of Fine Arts, Houston annual report 2013–2014 THE MUSEUM OF FINE ARTS, HOUSTON, WARMLY THANKS THE 1,183 DOCENTS, VOLUNTEERS, AND MEMBERS OF THE MUSEUM’S GUILD FOR THEIR EXTRAORDINARY DEDICATION AND COMMITMENT. ANNUAL REPORT ANNUAL 2013–2014 Cover: GIUSEPPE PENONE Italian, born 1947 Albero folgorato (Thunderstuck Tree), 2012 Bronze with gold leaf 433 1/16 x 96 3/4 x 79 in. (1100 x 245.7 x 200.7 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.728 While arboreal imagery has dominated Giuseppe Penone’s sculptures across his career, monumental bronzes of storm- blasted trees have only recently appeared as major themes in his work. Albero folgorato (Thunderstuck Tree), 2012, is the culmination of this series. Cast in bronze from a willow that had been struck by lightning, it both captures a moment in time and stands fixed as a profoundly evocative and timeless monument. ALG Opposite: LYONEL FEININGER American, 1871–1956 Self-Portrait, 1915 Oil on canvas 39 1/2 x 31 1/2 in. (100.3 x 80 cm) Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2014.756 Lyonel Feininger’s 1915 self-portrait unites the psychological urgency of German Expressionism with the formal structures of Cubism to reveal the artist’s profound isolation as a man in self-imposed exile, an American of German descent, who found himself an alien enemy living in Germany at the outbreak of World War I. -
Prince Batdance Mp3, Flac, Wma
Prince Batdance mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Funk / Soul Album: Batdance Country: Philippines Released: 1989 Style: Synth-pop MP3 version RAR size: 1885 mb FLAC version RAR size: 1971 mb WMA version RAR size: 1871 mb Rating: 4.6 Votes: 887 Other Formats: FLAC MMF XM VOC FLAC AHX ASF Tracklist Hide Credits Batdance (The Batmix) 1 7:15 Producer [Additional Production], Remix – Mark Moore, William Orbit Batdance (Vicki Vale™ Mix) 2 5:55 Producer [Additional Production], Remix – Mark Moore, William Orbit 3 200 Balloons 5:05 Companies, etc. Copyright (c) – DC Comics Inc. Phonographic Copyright (p) – Warner Bros. Records Inc. Phonographic Copyright (p) – WEA International Inc. Manufactured By – WEA Manufacturing Pressed By – Specialty Records Corporation Credits Producer, Arranged By, Composed By, Performer – Prince Notes Standard jewel case with full artwork. Front insert: From the Warner Bros. Motion Picture Soundtrack album BATMAN™, a Warner Bros. Film. Back tray insert: Original version of "BATDANCE" available on the Warner Bros. Motion Picture Soundtrack Album BATMAN™, a Warner Bros. Film. Available on LP, Cassette and Compact Disc (1/4/2-25936). Warner Bros. Records Inc., a Warner Communications Company [Warner Music logo] TM & © 1989 DC Comics Inc. ℗ 1989 Warner Bros. Records Inc. for the U.S. & WEA International Inc. for the world outside of the U.S. Printed in U.S.A. Disc: Warner Bros. Records Inc., a Warner Communications Company [Warner Music logo]® ℗ 1989 Warner Bros. Records Inc. for the U.S., TM & © 1989 DC Comics Inc. Mfg. by WEA Manufacturing. (ASCAP) Original version of "BATDANCE" available on the Warner Bros. -
Connected by Music Dear Friends of the School of Music
sonorities 2021 The News Magazine of the University of Illinois School of Music Connected by Music Dear Friends of the School of Music, Published for the alumni and friends of the ast year was my first as director of the school and as a member School of Music at the University of Illinois at of the faculty. It was a year full of surprises. Most of these Urbana-Champaign. surprises were wonderful, as I was introduced to tremendously The School of Music is a unit of the College of Lcreative students and faculty, attended world-class performances Fine + Applied Arts and has been an accredited on campus, and got to meet many of you for the first time. institutional member of the National Association Nothing, however, could have prepared any of us for the of Schools of Music since 1933. changes we had to make beginning in March 2020 with the onset of COVID-19. Kevin Hamilton, Dean of the College of Fine + These involved switching our spring and summer programs to an online format Applied Arts with very little notice and preparing for a fall semester in which some of our activi- Jeffrey Sposato, Director of the School of Music ties took place on campus and some stayed online. While I certainly would never Michael Siletti (PhD ’18), Editor have wished for a year with so many challenges, I have been deeply impressed by Design and layout by Studio 2D the determination, dedication, and generosity of our students, faculty, alumni, and On the cover: Members of the Varsity Men’s Glee friends. -
Jason Salavon Born, 1970 Indianapolis Lives and Works in Chicago
Jason Salavon Born, 1970 Indianapolis Lives and works in Chicago, IL Education 1997 Master of Fine Arts, The School of the Art Institute of Chicago 1993 Bachelor of Arts, The University of Texas at Austin Solo Exhibitions 2016 All the Ways, Mark Moore Gallery, Culver City, CA 2014 The Top 100,000,000, Inman Gallery, Houston, TX. Moving Image, Mark Moore Gallery, New York. 2013 New Work, Eight Modern, Santa Fe, NM Control, Ronald Feldman Fine Art, New York, NY 2012 Tony Wright, Chicago, IL Tragedy of the Commons, Mark Moore Gallery, Culver City, CA Gaain Gallery, Seoul, Korea 2011 Freer and Sackler Galleries, Smithsonian Institution, Washington, D.C. Meadows Museum, Southern Methodist University, Dallas, TX 2010 Arrows and Dice, National Portrait Gallery, Washington, D.C. Old Codes, Ronald Feldman Fine Arts, New York, NY Old Codes, Tony Wight Gallery, Chicago, IL 2009 Spigot, Hyde Park Art Center, Chicago, IL 2008 Project Room, Mark Moore Gallery, Santa Monica, CA Currents, Columbus Museum of Art, Columbus, OH 2007 Jason Salavon, Gaain Gallery, Seoul, Korea (catalogue) Inman Gallery, Houston, TX 2006 Portraiture Now, National Portrait Gallery, Washington, D.C. (catalogue) Art Cologne, Galerie Kusseneers, Cologne, Germany 2005 Emblem, Inman Gallery, Houston, TX List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, MA (brochure) Rockford Art Museum, Rockford, IL 2004 everyday coma, The Project, Los Angeles, CA Brainstem Still Life, Earl Lu Gallery, LASALLE-SIA College of the Arts, Singapore. (catalogue) The Late Night Triad, f a projects, London, UK 2003 The Museum of Contemporary Art, Los Angeles, CA. Digital Gallery The Museum of Contemporary Photography, Chicago, IL SoFA Gallery, Indiana University, Bloomington, IN (catalogue) Inman Gallery, Houston, TX Galerie Edward Mitterrand, Geneva, Switzerland Jason Salavon: Part I & Part II, M-PROJECT, Paris, France. -
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity
Club Cultures Music, Media and Subcultural Capital SARAH THORNTON Polity 2 Copyright © Sarah Thornton 1995 The right of Sarah Thornton to be identified as author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. First published in 1995 by Polity Press in association with Blackwell Publishers Ltd. Reprinted 1996, 1997, 2001 Transferred to digital print 2003 Editorial office: Polity Press 65 Bridge Street Cambridge CB2 1UR, UK Marketing and production: Blackwell Publishers Ltd 108 Cowley Road Oxford OX4 1JF, UK All rights reserved. Except for the quotation of short passages for the purposes of criticism and review, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Except in the United States of America, this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any 3 form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ISBN: 978-0-7456-6880-2 (Multi-user ebook) A CIP catalogue record for this book is available from the British Library. Typeset in 10.5 on 12.5 pt Palatino by Best-set Typesetter Ltd, Hong Kong Printed and bound in Great Britain by Marston Lindsay Ross International -
ART on Themart ANNOUNCES ARTISTS for FIRST ITERATION of the LARGEST PERMANENT DIGITAL ART PROJECTION in the WORLD
Media Contacts: Francesca Kielb/Jenelle Davis Carol Fox and Associates 773.969.5035/ [email protected] 773.327.3830/ [email protected] For Images, Click Here Embargoed For Release: 9:00AM CST / August 23, 2018 ART ON theMART ANNOUNCES ARTISTS FOR FIRST ITERATION OF THE LARGEST PERMANENT DIGITAL ART PROJECTION IN THE WORLD Artists Diana Thater, Zheng Chongbin, Jason Salavon and Jan Tichy Selected for Inaugural Projection Chicago—theMART, with the City of Chicago, today announced the selected artists for Art on theMART, which debuts on September 29, 2018. The first-of-its-kind for Chicago, this curated series of digital artworks will project the work of renowned artists Diana Thater, Zheng Chongbin, Jason Salavon and Jan Tichy across 2.5 acres of theMART’s exterior river-façade, creating the largest permanent digital art projection in the world. “theMART’s gift to the city is a transformative public art platform distinguished by its unparalleled scale and long-term potential,” said Art on theMART Executive Director Cynthia Noble. “The inaugural set of projections, with the high caliber of artists, range of subjects and technological innovation, signals limitless opportunities for artists and cultural organizations to engage audiences from Chicago and around the world.” Art on theMART selected and commissioned the work by Thater and Chongbin, while Salavon and Tichy were commissioned by the Terra Foundation for American Art and confirmed by an esteemed Curatorial Advisory Board comprised of several of the city’s most distinguished arts and culture leaders. In addition to Art on theMART Executive Director Cynthia Noble, Curatorial Advisory Board members include Museum of Contemporary Art Chicago Associate Curator José Esparza Chong Chuy, Art Institute of Chicago Assistant Curator Robyn Farrell, EXPO CHICAGO President/Director Tony Karman, Chicago Department of Cultural Affairs and Special Events Film Office Director Rich Moskal, artist Edra Soto and artist Amanda Williams. -
House, Techno & the Origins of Electronic Dance Music
HOUSE, TECHNO & THE ORIGINS OF ELECTRONIC DANCE MUSIC 1 EARLY HOUSE AND TECHNO ARTISTS THE STUDIO AS AN INSTRUMENT TECHNOLOGY AND ‘MISTAKES’ OR ‘MISUSE’ 2 How did we get here? disco electro-pop soul / funk Garage - NYC House - Chicago Techno - Detroit Paradise Garage - NYC Larry Levan (and Frankie Knuckles) Chicago House Music House music borrowed disco’s percussion, with the bass drum on every beat, with hi-hat 8th note offbeats on every bar and a snare marking beats 2 and 4. House musicians added synthesizer bass lines, electronic drums, electronic effects, samples from funk and pop, and vocals using reverb and delay. They balanced live instruments and singing with electronics. Like Disco, House music was “inclusive” (both socially and musically), infuenced by synthpop, rock, reggae, new wave, punk and industrial. Music made for dancing. It was not initially aimed at commercial success. The Warehouse Discotheque that opened in 1977 The Warehouse was the place to be in Chicago’s late-’70s nightlife scene. An old three-story warehouse in Chicago’s west-loop industrial area meant for only 500 patrons, the Warehouse often had over 2000 people crammed into its dark dance foor trying to hear DJ Frankie Knuckles’ magic. In 1982, management at the Warehouse doubled the admission, driving away the original crowd, as well as Knuckles. Frankie Knuckles and The Warehouse "The Godfather of House Music" Grew up in the South Bronx and worked together with his friend Larry Levan in NYC before moving to Chicago. Main DJ at “The Warehouse” until 1982 In the early 80’s, as disco was fading, he started mixing disco records with a drum machines and spacey, drawn out lines. -
Study Guide for the Book of Revelation
Study Guide for the Book of Revelation By Mark E. Moore September 2006 Outline of Revelation By Mark Moore I. Preparation for Suffering (1-5) A. Prologue (1:1-8) B. Vision of Jesus (1:9-20) C. A Call to Repent (2:1-3:22) – Letters to 7 churches D. A Vision of God (4-5) II. Description of Suffering – Series of Sevens (6-19) A. Seven Seals (6:1-8:5) Interlude – 144,000 and the great congregation (7:1-17) B. Seven Trumpets (8:5-11:19) Interlude – Angel and the Little Scroll (10:1-11) C. Cosmic Gladiators (11-14) 1. Two witnesses (11) 2. Woman and the Dragon (12) 3. Two Beasts, from the Sea and Land (13) 4. The Lamb and the 144,000 (14) D. Seven Angels with seven bowls (15-16) III. Consequences of Suffering (or a tale of two cities) (17-22) A. Destruction of the unholy Trinity (17-20) 1. Down goes the Harlot (17) and Babylon (18) 2. Down goes the beast and his armies (19) 3. Down goes the Dragon – the Devil (20) B. Establishment of the New Jerusalem (21-22) 1 Interpreting Revelation By Mark Moore 1. Revelation is the story of Jesus Christ (1:1). Keep your eyes on who he is and you’ll not go far a field in your exegesis. 2. Revelation is an apocalypse (1:1). Therefore we must expect: a. Eschatological perspective. This is not so much a prediction of future events as it is a radical expectation that you are living in the last days. -
Towards a Holistic Interpretation of Musical Genre Analysis Thesis
1 JYVÄSKYLÄ STUDIES IN HUMANITIES Chris Kemp Towards a Holistic Interpretation of Musical Genre Analysis JYVÄSKYLÄN YLIOPISTO 1 2 JYVÄSKYLÄ STUDIES IN HUMANITIES Chris Kemp Towards a Holistic Interpretation of Musical Genre Analysis Academic dissertation to be publicly discussed, by permission of the Faculty of Humanities at the University of Jyväskylä, in Auditorium S212, on June 10, 2004 at 12 o’clock noon. 2 3 Towards a Holistic Interpretation of Musical Genre Analysis JYVÄSKYLÄ STUDIES IN HUMANITIES 3 4 Chris Kemp Towards a Holistic Interpretation of Musical Genre Analysis Academic dissertation to be publicly discussed, by permission of the Faculty of Humanities at the University of Jyväskylä, in Auditorium S212, on June 10, 2004 at 12 o’clock noon. 4 5 ABSTRACT Kemp, Chris Towards a holistic interpretation of musical genre analysis Jyväskylä: University of Jyväskylä, 2004 ? (Jyväskylä Studies in Humanities ISSN ISBN Diss In the past, exploration of music has focused on analysis by formalists, refferentialists and through social, semiotic and anthropological viewpoints including Schenkerian-Yeston (1977), Semiotic-Eco (1977), and Motivic-Ruwet (1987). Although each has its merits in the formal analysis of music, few explore genre identification. In musical genre studies the exploration of musical, paramusical (extramusical) and perceptual elements are essential to facilitate a full understanding of the subject area. Johnson in Zorn supports such a perspective in his argument for a holistic approach to musical analysis (Zorn 2000:29). The multidisciplinary nature of music and the discourses embodied in its creation, development and dissemination utilise a range of signifiers for identification advocating the utilisation of a “hybrid” (Wickens 1999) methodology combining quantitative and qualitative analysis.