Continuization loop


With Continuization Loop, a single 35mm film loop is pulled up and down over more than 150 guide wheels creating a wall of film. The frames of this piece of film are either black or transparent.
When the loop travels through the mechanism, the image of video static appears.


While film as a medium normally makes images appear through projection in combination with
the transport of celluloid through a projector, this Wim Janssen work omits the projection and
makes the image appear by means of transport alone.


The installation combines and imitates visual elements from three generations of visual media:
the material aspect of film, the empty signal of video and the binary logic of digital.
At the same time, the most important attributes of these media are absent:
there is no construction of an illusory film-space, there is no real video image and
there are no computers involved. The first video is from the artist.
The second is from me. Both are silent.


(thanks to Wim Janssen)

Algorithmic Search for Love

It was easy to spend a lot of time with this installation. Basically, a supercut generator using words or phrases that you enter at the provided keyboard. The database is the personal film/video collection of Julian Palacz who created this work. His video presentation is self-explanatory. It could also make it easier to create your own video short using changing words such as you’ll see in the second video.

(thanks to Julian Palacz)

(thanks to MattatjeOorlog)

Prewarned Ooze Hit


A miniature recreation of the explosion of the Deepwater Horizon oil rig disaster that happened in April of last year as performance. It consists of a realistic model of an oil rig placed, in this instance, in a makeshift swimming pool (with a strong smell of chlorine this particular time) followed by a series of explosions erupting on the small rig complete with plumes of black smoke. A small tugboat arrives to film the explosion with the visuals relayed to a projection screen nearby.


Through this recreation, HeHe‘s work, is there a horizon in the deep water?, examines the transmutation of real-life tragedy into an entertainment spectacle while asking us to suspend our disbelief and contemplate the reality of such a catastrophe – touched with a sense of comic relief.
Of course, there’s always the beauty of water reflections.

(thanks to Fabian Mohr)

(thanks to Invisible Dust)

Endangered waters


The Icelandic artist Rúrí has preserved 52 images and sounds of 46 Icelandic waterfalls all constructed in a beautiful brushed steel cabinet with extendable/retractable screens – similar to a print storage cabinet – on which each glass screen is a photograph of a waterfall. As the screen is pulled out, audio of the rushing sound of that particular waterfall is heard. Pulling out multiple screens envelope the listener in the simultaneous cascading sounds with beautiful effect (I’ve included an audio excerpt below). The audio installation bears witness to the endangerment of these natural phenomena, because since it was made, half of the waterfalls have gone silent. Through the example of a local situation, the work draws attention to the state of water and its global political affairs.


Audio MP3




So, here we are. Searching. Our physical origins leaving traces that are fragmented until coalesced into stored evidence using sensors that not only see what we cannot, but also translates what it sees into something comprehensible. The DoppelLab is a virtual environment created by the Responsive Environments Group at the MIT Media Lab for the investigation of systems activities and their complex relationship inside a sensor-rich environment. Users can walk through and interact with animated sensor data visualizations within a building or visualize from outside the structure of the many layers of activity and information as a whole. The first video is an excerpt that features Gershon Dublon speaking about some of the advantages of using this virtual environment setup. It highlights too, the wonderful Deep Space hi-def 16 by 9 meter projection videowall (another project example can be seen here). This is followed by a more official video of the DoppelLab experience.


(thanks to the Responsive Environments Group)

Ameisenkönigin (geregelter zufall)


Another work from Hans Polterauer. What initially appears to be a swarm of insects darting and looping about without ever alighting on one spot turns out, upon closer inspection, to be an array of wires responding to the attractive force of a circling magnet. A uniformly moving magnet produces seemingly chaotic fluctuations: amidst the disarray, order prevails with the wires describing a circle.


(thanks to Hans Polterauer)



In a conventional motion picture we have a series of images that move past a stationary light source, but in another work of Hans Polterauer that is featured here, we have somewhat of a reversal of that situation where we have an object that remains fixed while the light source is in motion. Under the illumination of an LED lamp, wire spirals cast beautifully poetic shadows onto the walls of the installation space. The subsequent movements of the light source change the shape of the shadows, breathing life into them. An exploration of the interrelationship of motion, spatial sculpture and filmic identity that adds the extra 4th dimension of time.


(thanks to Hans Polterauer)



When a sequence of images moves slower than 16 frames per second, the human brain can perceive each one separately. If it’s faster than 16 fps, it’ll appear as continuous motion. This effect is what Hans Polterauer takes advantage of in this work of art that becomes an example of hyperkineticism. He positions objects on a spinning disc that are illuminated with a rapidly blinking source of light. This results in a series of images that overtaxes the capacity of the brain relaying an impression that the objects themselves are moving rather than the disc on which they are attached.


(thanks to Hans Polterauer)

Deus cantando

ξ  for computer-controlled piano and screened text  ξ

This installation explores a connecting link where language and music intersect. The brain converts what are initially abstract musical structures into a series of words in a human language – in this case the 2009 Declaration of the International Environmental Criminal Court. Peter Ablinger, along with Winifred Ritsch and Thomas Musil, use software that reconstructs the spectrum of frequencies inherent in speech thru the computer-control of a piano’s gamut of repeating half-tones and variable velocities using eighty-eight “fingers” capable of up to 16 keystrokes per second. Four photos follow showing various angles and close-ups with a short video excerpt of mine followed by the complete video (better sound without extreme extraneous room ambience) provided by Peter Ablinger himself.





(thanks to Peter Ablinger)



ALICE (A Large Ion Collider Experiment)
For ALICE, the Large Hadron Collider (LHC) will collide lead ions to recreate the conditions just after the Big Bang under laboratory conditions. The data obtained will allow physicists to study a state of matter known as quark gluon plasma, which is believed to have existed soon after the Big Bang.

ATLAS is one of two general-purpose detectors at the LHC. It will investigate a wide range of physics, including the search for the Higgs boson, extra dimensions, and particles that could make up dark matter. ATLAS will record sets of measurements on the particles created in collisions –
their paths, energies, and their identities.

CMS (Compact Muon Solenoid)
The CMS experiment uses a general-purpose detector to investigate a wide range of physics, including the search for the Higgs boson, extra dimensions, and particles that could make up dark matter. Although it has the same scientific goals as the ATLAS experiment, it uses different technical solutions and design of its detector magnet system to achieve these.

LHCb (Large Hadron Collider beauty)
The LHCb experiment will help to understand why we live in a Universe
that appears to be composed almost entirely of matter, but no antimatter.

WLCG (World Wide LHC Computing Grid)
A distributed computing and data storage infrastructure.

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biz at stas...

Rod Stasick is a composer in the broad sense of the term. He is interested in the creation of event-systems for various situations. Template scores are often created using a combination of graphic signs and symbols that usually suggests a syncretism of styles and methods of performance. Using these methods, he produces works in diverse disciplines (audio, video, text, mail art, conceptualism, etc.) utilizing assorted influences: Eastern Philosophy, Fluxus, The Situationist International, Oulipo, Semiotics, Discrete Event-Systems, random numbers to revamp Zen planning and forms of Information Theory.

  • Psychoacoustics
  • Generative Music
  • Composition
  • Sound Diffusion
  • Interactive Art
  • Installation
  • Sound Design
  • Radiophonic Art
  • Field Recording
  • Electroacoustics
  • Sound Art
  • Performance
  • Sound & Image

  • His studies with Karlheinz Stockhausen (2001-2007) have renewed his interest in various aspects of compositional integration.

    Extensive number of performances
    of experimental works.

    Archivist for the Jerry Hunt Estate

    Percussion studies:

  • Steve McCall
  • Dennis Charles
  • Charles Hammond
  • Gary Burton

  • Eternally grateful to these folks who had, in person, taken the time to encourage me in my compositional work (chronologically listed):

  • Alan Watts
  • John Cage
  • Joseph Beuys
  • Jerry Hunt
  • Alvin Lucier
  • Robert Rauschenberg
  • Merce Cunningham
  • Buckminster Fuller
  • Nam June Paik
  • Charlotte Moorman
  • Anthony Braxton
  • David Tudor
  • Earle Brown
  • Pauline Oliveros
  • Ben Patterson
  • James Tenney
  • Christian Wolff
  • Karlheinz Stockhausen