Category Archives: media

events media

Jacob Gaboury — Image Objects: An Archaeology of Computer Graphics

Jacob Gaboury

  • “Marginal places and marginal figures in the history of digital”
  • A material history of immaterial objects

University of Utah

Readings of the History of CGI

  • Anne Frieberg  → renaissance, perspective  → CGI
  • Lev Manovich  → the history of illusion  → computer image
  • Jacob’s project is a “a material history of immaterial objects — production of computer graphics from its rendering process (“making the digital visible”)


The Teapot

  • Mid-century german design
  • British researcher (“sitting down to tea”)
  • Domestic objects imported and analysed – wives and the role of women


New York

Xerox Park  → Interpress  → Adobe


  • mathematical / philosophical backgrounds — idealogical and theoretical mathematical modelling — algebra and geometry
  • the humour in the teapot — why does this make people chuckle?
  • teapot as masculine — moved from a domestic environment into the male laboratory (hidden labour of women — when women were computers)… the story of the “breadboard” as a bridge object of a similar sort at Bell Labs
  • flight simulator? why *flight* simulator
  • are technical histories continuous?  why are the links between these elements necessary…?
  • Folding —
media readings

Powers Of The Hoard Notes On Material Agency – Jane Bennett (2012)

Jane Bennett Powers of the Hoard Artistry and Agency in a World of Vibrant Matter – video

Hoarding as a speculative account of the active expressive or calling capatiy of thing. 

Hoarders – extreme perception, noticing the “somatic effectivity of objects”, different from the artist as hoarding is ‘undifferentiated’ (whereas artistry is more anthropocentric, and ‘taste based’)

Artists – share some aspects but are not identical (Song Dong – Waste Not, Chardin – The Brioche) 
Spectrums: owner, connoisseur, collector, archivist, packrat, hoarder (objectophile?) 
“The History of Sexuality”, Foucault – the productive power around him

Bergson – perception as a subtractive process – it is selective.  What we do detect is the measure of possible action upon – normal perception is biased toward utility rather than vibrancy 
Heidegger – withdrawal of the thing in utility 
Freud – “the human body longs to return to the efficacy of the inorganic” 
Benjamin – the collector – the human body taking pleasure in the useless – ‘glorification of things’ 
Barthes – advenience instead of glorification – this picture ‘advenes’ that one doesn’t

political economies devoted to overconsumption, planned obscolences…

  • Times/places for psychoses – “Perhaps hoarding is the madness appropriate to us, to a political economy devoted to consumption, planned obsolescence, planned extraction of natural resources, and mountains of discarded waste.”
  • The mad walker of france as a response to the valuation of travel in french culture, and the demonisation of loitering resulting in obsessive 

  • Garbage in the atlantic / pacific ocean – a twenty-first century commons 

three insights that hoarders have (the three hoarder intelligences) 

  • endurance / patience / waiting it out 
    • Spinoza – the ‘speed’ of things 
    • power of slowness – ‘i like rocks, they’re
    • “the human body longs to return to the efficacy of the inorganic”
  • porosity and contagion 
  • inorganic sympathy
    • the philosopher is his/herself also a thing with thing-power
    • act of sympathy and self-recognition
    • dissolving the units of life – besides the instinct to preserve living substance, there must exist another contrary instinct – as well as eros (brings together) there was a instinct of death (Civilizaation’s Discontents – Freud) 
    • death drive – a distinctive form of relationally – “a subteranian sympathy” with the inorganic 
    • utility isn’t the key to hoarding – but neither is it aesthetic – it’s something else
      (usually it’s either utility or aesthetics – but is there another relation?) 
    • Benjamin – taking pleasure in the useless sheer pleasure of thingness – as an act of non-commerciality – deliberate aestheticism
    • Barthes – advenience – might be a better description of the peculiar calling out of the thing 

why we may ignore thingness

  • man as the center of all things – human conceit
    • the philosopher is his/h
  • language is a subject-object – passive objects, active subject grammar
    • poetry is perhaps better served to express powers or things 
    • Shem the Penman hoarder in Finnegan’s wake – Joyce
      • taking all the gross matter of the world and turning into art
      • Bohemian character who, among other things, creates ink from his own excrement
      • “writing the mystery of himself in furniture?”
    • there are some similarities here to claims in ethnographic pursuits around not having a ‘qualitative grammar’ in anthropology (no “language of qualitative method” (Gubrium, J. F., and J. A. Holstein. 1997. The new language of qualitative method. New York: Oxford University Press.)
  • Bergsonian physiology of perception – screening out the vitality of things – bringing to the fore the passive qualities of stuff, as we perceive via utility
“sticky words”
  • transferring the object aspects (slowness, intercorporeal infusion advenience) – into human understandings (imaginative projection, use or aesthetic value 
  • religious practices
  • attention deficit disorder – a preference for lively things over planned / ogranised things
  • paranoia – an over extended receptivity 
  • fetish objects – persistence of ‘lucky charms’ 
  • web marketers – “the call from the data from web page hits as that data swings from useless thing to valuable commodity”


  • the opposite – total minimalists, attuned to the 
  • choice / compulsion
  • Weber – man being seperate from the objects that he or she produces because of capitalism 
  • Warhol – was an obsessive hoarder 
  • Projection into things by people does not exhaust our relations with things – there is a physical quality that remains (inorganic sympathy) that is “hard to talk about without sounding crazy”
  • New York as a Geologic City – Geologic Now
  • broken objects 
  • Charles Taylor – Secular Age – the power of art to reflect how we talk about objects


  • Taussig’s hint that language is related to materiality of things
  • Cadava’s story about Avital Ronnel – “whenever someone tries to conjure up the figure of humanity, someone gets fucked”

Flicker – Nik Sheehan

The comparison to television and the means of accessing individual experience instead of broadcast experience 

Bastiaan ter Meulen – Neurologist – Rotterdam 

Let the mice in – Brion Gisyn – “words talk” – “throw it out the window and it will come in the door”

Hassan-i Sabbah:   “When the Christian crusaders in the Orient came across that invincible order of Assassins – that order of free spirits par excellence whose lowest order received, through some channel or other, a hint about that symbol and spell reserved for the uppermost echelons alone, as their secret: “nothing is true, everything is permitted”. Now that was freedom of the spirit, with that, belief in truth itself was renounced.” (On the Genealogy of Morals, by Friedrich Wilhelm Nietzsche, Walter Arnold Kaufmann. p. 150) 

The end of art because “you have to look at it with your eyes closed”

The ability to make your own inner movie – turntables of the mind – the invisible war is 



On 24 Nov 2012, at 00:42, Jamie Allen wrote:

The comparison to television and the means of accessing individual experience instead of broadcast experience 

Bastiaan ter meulen

Let the mice in – book

Words talk

Throw it out the window and it will come in the door 

Magic realism 

sent from my phone

media readings

Computer History – George Dyson

George Dysoncomputer history

Hobbes – computer – ratiocination – subtraction and addition – 1656

Leibniz – binary calculus with only addition – 1679 

  • openings of gates – shift registers… 
  • marbles —> electronics 

Von Neuman – 1945 – June


Richardson – “Electrical Model illustrating a Mind having a Will but capable of only Two ideas”


Graph’G Beam Turn On – First Digital Bitmap Display 

Barricelli – artificial life – artificial genetic system in the computer 

  • Wolfram 
  • If its that easy to create living organisms why not create a few yourself
  • Naturalist

Julian Bigelow – vacuum tube engineer – July 1958 – Maniac is turned off


Cave of Forgotten Dreams (2010) – Werner Herzog

Chauvet Cave – 1994 discovery

Venus of Chauvet – “the Bison seems to embrace the sex of a naked woman”

  • transferability – transfer from a man into an animal chimera
  • permeability – that entities can be transferred into the spiritual domain



Venus of Hohle Fels

Maurin Maurice

Wulf Hein – Experimental ArcheologistIvory Flute


I am not painting. The hand of the spirit is painting.”



lists media

Paik Google Timeline

Paik  Google Search  timeline


Stockhausen’s Originale





In 1961, at age 33, Karlheinz Stockhausen was already among the most well-known of living composers, though not yet the guru figure of Beatles tributes and electronica lore. He had just finished composing Kontakte, a piece for electronic four-channel tape and piano/percussion duo, in which he attempted a high degree of interaction between live performers and taped sounds, as well a new degree of theatricality in the onstage movements of the musicians. He received a commission for a “theatrical” work from a theater producer in Cologne, and Originale (Originals) was scripted rapidly during a visit to Finland in July of 1961.

The composer Jonathan Harvey, in his book The Music of Stockhausen, describes the form of Originale:

“It consists of eighteen scenes in the form of instructions for the dramatis personae carefully placed in timeboxes. Each character’s actions, in other words, must take a specified number of seconds or minutes [hence the frequent appearances of the clock in Peter Moore’s film]. These scenes are grouped into seven ‘structures’ which may be performed successively as ‘normal’, or simultaneously (up to three at once), or both.”

The idea was to organize spoken language and stage actions in much the same way as musical materials had been organized in Stockhausen’s previous pieces.

The stage actions consisted largely of normal activities undertaken by actors who were basically playing themselves: a poet played himself as “the poet,” reading poetry on stage; a “painter” paints; a “film man” and “lighting man” and “models” go about their normal business, all within their allotted times (hence the title of the piece: “originals” playing themselves). A visual and aural complexity was created by the juxtaposition of these simultaneously occurring activities, creating an aura of absurdity which contrasted with the normality of the events themselves. In addition, some of the performers, such as the explosive performance artist Nam June Paik, went the opposite direction, performing bizarre actions within their roles. And certain elements of the set, such as goldfish swimming in a bowl hanging from the ceiling, contributed to this contrast between the mundane and the absurd.

Stockhausen added another layer of irony to the title by basing Originale on his previous work, Kontakte, rather than composing new music for the piece. So, at the beginning ofOriginale, we see a pianist and a percussionist (playing themselves, of course) performing Kontakte. However, there is a film camera and a tape recorder present, as well as a stage manager shouting instructions over the music. After a few minutes, the players stop and the tape of their performance is heard, along with the recorded shouts of the stage manager. Thus we see a pianist and percussionist, recording and filming themselves playing a composition which itself contains prerecorded sounds – performances within performances, by “originals” playing themselves.

The premiere of the work in Cologne in autumn 1961 was a success for the participants and a scandal for the organizers, who pulled funding two days into the twelve-day run, forcing composer and company to take financial responsibility for the rest of the run.

ORIGINALE: The New York Performance

In summer 1964, Charlotte Moorman, cellist and tireless promoter of cutting-edge art, was putting together her 2nd Annual New York Avant Garde Festival. Both Moorman and artist Allan Kaprow, who was well-known as the originator of the term “happening,” had been in touch with Stockhausen about Originale. According to Barbara Moore, the producer of tonight’s film, Stockhausen gave his approval for a New York performance on one condition – the piece could not be performed without Nam June Paik. Moorman had never heard of Paik, but as it happened, the Korean-born performer and video artist had just arrived in New York and coincidentally was about to contact her. (This initial contact was the start of a long artistic partnership between the two.)

Born in 1932, Paik studied as a composer but also made assemblages and performance pieces, including his infamous One For Violin Solo, which consisted of slowly raising a violin over his head with intense concentration, then suddenly bringing it down on the table in front of him, smashing it to pieces. His reputation as a ferocious and charismatic performer preceded him to New York, and his presence dominates the middle section of Peter Moore’s film. Paik is listed in the cast as “action music,” and performed three of his own pieces during Originale – including Simple (1961), in which he covers himself with shaving cream, flour, and rice, and climbs into a tub to wash off, then drinks the water out of his own shoe.

Barbara Moore recalls that aside from the casting of Paik, Stockhausen entrusted the New York performance entirely to the organizers. Kaprow directed the piece and assembled and rehearsed the cast, which was drawn from the close circle of avant-garde artists in New York.

The venue was Judson Hall, across from Carnegie Hall at 165 W 57th St. Not to be confused with Judson Memorial Church – which actually was a noted avant-garde venue – Judson Hall was used mainly for traditional classical recitals. An onstage scaffolding was constructed, and the New York run of Originale began on September 8, 1964 (with composer Edgard Varese among the audience members). With the exception of September 10, it was performed every night through the 13th. (A full week of concerts and events organized by Moorman had preceded the five-night run of Originale.)

The performance seems to have been well-received for the most part, though there was inevitable bemusement and unpredictable reactions among some of the audience members. For instance, catcalls can be heard on the film as the models undress. And in his book The Art of Time, Michael Kirby, who was a cast member, recalled that at one performance Paik was suddenly handcuffed to the scaffolding by a well-coordinated group of audience members who then disappeared. Everyone thought it was part of the show until Paik called “feebly but only half-intelligibly about his inability to get to the piano.” For his part, Paik varied his performance each night, as he had done in Cologne, throwing curve balls to the cast and audience.

Adding to the general unpredictability was the concurrent protest undertaken outside the concert hall by a number of New York artists, including Henry Flynt, Tony Conrad, and George Maciunas, who collectively denounced Stockhausen as a “cultural imperialist.” (Maciunas, the leader of the Fluxus art group, also considered Moorman something of a rival within the New York art world, though other Fluxus members were performing in the show.)


16mm, black and white, sound, 32 minutes, 1964-93

Peter Moore (1932-1993) was a distinguished photojournalist who beginning in 1962 documented many of the most well-known avant-garde art events in New York. He was commissioned by theater producer Rhett Brown, wife of artist Robert Delford Brown (who appeared as the painter in Originale) to produce a film of the event. Shooting in 16mm and using available light, Moore documented two nights of the run, and took still photos at the remaining shows. The film’s subtitle, Doubletakes, reflects the fact that the film was shot during two successive evenings, so different views of the onstage events are seen in the film.

Art historian and Moore’s wife Barbara, who was present, recalls that the camera used to shoot Doubletakes was borrowed from the filmmaker and video artist Ed Emshwiller. Talking from New York in a recent phone conversation, Ms. Moore also noted that the onscreen presence of Brown as the painter indicates that Peter Moore shot the film during the early nights of the run, since Brown was soon kicked out of the performance after a disagreement with Kaprow about his approach to the role.

The footage was stored away until 1993, when Peter Moore began preparations for editing. After Moore’s sudden death that year, Barbara Moore took over producing the film, drawing on extensive conversations she had had with her husband about his intentions for the film. The footage was edited by Susan Brockman.

The soundtrack for the film consists of what is known as “wild sound” – that is, the sound is mostly independent of the images. However, the sounds you do hear are always being made by the performers you see at that moment on the screen. The result is a skillful distillation of the original 94-minute work into a 32-minute film. Doubletakes is also an invaluable document of a particularly fertile moment in the New York avant-garde and, since Originale has been withdrawn from public performance by the composer, it also represents a rare glimpse of this unique work in Stockhausen’s output.


Director – Allan Kaprow
Assembled and rehearsed the cast and directed the show. He is the bearded man seen near the end of the film reading from a book and then holding large clumps of straw.

Pianist – James Tenney
A pioneer composer of electronic music as well as a performer of Stockhausen’s and others’ music. Seen here performing Kontakte.

Percussionist – Max Neuhaus
Perfomer of Cage, Stockhausen, Feldman and many other composers, and later a creator of his own sound art works. Seen here performing Kontakte with Tenney. The duo began the evening in formal concert dress, but had several costume changes including states of undress as seen later in the film. (The feral costume worn by Tenney was created by artist Carolee Schneemann.)

Film Man – Robert Breer
Noted avant-garde filmmaker and animator. His film “Fist Fight,” which according to Barbara Moore consists of baby pictures of the cast interspersed with animation, is seen playing during the performance.

Action music – Nam June Paik

Child – Anton Kaprow
The child plays with boxes to the side of stage, and also, in Stockhausen scholar Robin Maconie’s phrase, “acts as a silent observer of what the adults are up to.”

Models – Olga Adorno and Lette Eisenhauer
Both women were performers in early 60s events in New York. Eisenhauer especially was a contributor to Kaprow’s early happenings

String Player – Charlotte Moorman
Seen playing the cello while lying on the floor and later from the balcony.

Jazz Musician – Don Heckman
Seen playing saxophone. Later moved into jazz journalism. Together with Ed Summerlin, curated the jazz events at Moorman’s festivals.

include Dick Higgins and Jackson Mac Low, two language artists associated with Fluxus. Mac Low is seen near the beginning of the film, wearing the CORE/Freedom Now shirt.

Conductor – Alvin Lucier
The noted electronic music composer is briefly seen conducting the actors in their simultaneous readings.

Painter – Robert Delford Brown
Commissioned the film from Moore. Replaced by Fluxus artist Ay-O after a disagreement with Kaprow.

Poet – Allen Ginsberg
The Beat poet is seen early in the film observing the models, then drinks water from Nam June Paik’s shoe, and later chants mantras in his role as “the poet.”

Producer (film) – Barbara Moore  Editor (film) – Susan Brockman

For assistance with tonight’s screening, thanks to Oliver Smith, Robbie Land, and Eyedrum.

Special thanks to Barbara Moore, who provided many of the details of the film’s production and also shared her recollections of the performances.

Program notes: 2003 Andy Ditzler

manifestations media

Rutt-etra Video Synthesizer


Charlotte Moorman and Nam June Paik “The Originale”

Charlotte Morman talks about how she met her long time artistic partner Nam June Paik. The details of the establishment and presentation of the 1964 premier performance of Stockhausen’s “Originale” in New York is described in very funny detail. She tells about George Maciunas (Fluxus) picketing the performance. Filmed in 1980 under a grant from the National Endowment for the arts. It is an excerpt from the work “Charlotte Morman and the New York Avant Garde.” by Fred Stern


NJP Film Archive (selections)

Panel Time/Space # 1. John Cage, Dave Ashton, M. Cunningham, NJP, R.Kostelanetz_”


  • Kaprow, Cage, Lamont Young, Joseph Cornell, Paik, deKooning
  • “I don’t object to categorizing and defining work, but I think they’re pernicious in defining people – they close off one’s space”
  • “Polyartist” – a single grand professional space… it’s hard to know where one art ends and another begins

J. Cage

  • “How to go out through the senses, without any concepts… That’s why I use chance operations.”
  • “If I have the opportunity to continue working, I think the work would resemble more and more not the work of a person, but something that might have happened even if the person wasn’t there.  Or something like that.”
  • Plurality of buddas in gnostic christianity – “split the stick and there is jesus”
  • We don’t live by one principle but by multiple
  • Indian philosophy and the division of thinking into four parts: the goals of cooking/hunting, the goals of pleasure/sex, the goals of true/false and good and evil, and the liberation from all these concerns
  • “Writing music is one thing and hunting wild mushrooms is another”

CBS Evening News with Cliff Baldwin, 1-10-83

  • Report on Paik’s Guinness Book of World Records

Anthology Film Archives – NJP Anthology Performaince Part II (Shot by Blair Thurman?)

  • Paik’s piece is a duo of emergency airhorns – played until the run out of compressed air

TLC Documentary – The Learning Channel – 1993

  • South Korea’s National Museum of Contemporary Art –
  • SOHO 
    • 1964 moves from Germany
    • Nearly 30 years after his first video art exhibition
  • 1932 – Seoul Korea
    • music and western technology
    • ‘people hiding inside the radio technology’
    • interest in twelve tone music – staukausen
  • 1964 – New York
    • Best kind of robot – as it took 4 men to repair and use the robot – create jobs
  • 1982 – Whitney Museum first retrospective
    • Participation TV
    • Moon is the oldest TV
    • TV Buddha
  • David Ross – Directo, Whitney Museum
  • 1986 – Wrap Around the World
    • TV as a liberator
    • Orwell was wrong
  • David Bowie, Peter Gabriel, Laurie Anderson
  • Holly Solmon – Holly Solomon Gallery
    • “why i love nam june paik’s work so very much is because its hopeful…”
  • “I am trying to intersect software, hardware and underwear”
  • 1992 – Major Retrospective in Seoul
  • 1993 – Golden Lion award for Venice Biennale – Hans Haacke and Nam June Paik

American Art Today – A View from the Whitney – 1987

  • Lisa Phillips – Curator 
    • early eighties was a tumultuous change – occured in the early eighties
  • Barbara Kruger
  • Commodity art – loss, technical production, reprographic, reduction of the presence of the hand
  • Judy Pfaff – NYC BQE
  • Paik
  • Hanhardt
  • Yvonne Rainer – The Man Who Envied Women
  • Paul Glabicki – Obeject Conversation
  • Bill Viola – I do not know what it is I am like

Tiger Lives by Nam June Paik – 1999

Robot Accident from Living with the Living Theater – 1989