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"Cary's work is nano in a different way: He takes software, images, and people and meshes them together in real time. His work is of a 'fuck modernism' ethos that tries to get at what p2p really is: By combining principles of open-source software culture and religious ritual..." ---Tim Jaegar From Nano-Thought / Nano-Media |
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History is of the dead and the dead give us life : The Conductor went "colorific" this time because of the following reasons: (1) Eriko Tamura designed Conductor Seventeen Sportwear. (2) Christine Nadir created shimmery, red curtains. (3) Jai Cha wanted to control his "dance camera" via remote control and so he proposed using his Panasonic Mini-DV camera instead of the standard Conductor Ultrak surveillance cameras. (4) Digital video is not so new anymore and has taken on a seasoned, dated, "historical" aura all its own. I invite you to take a look at the latest documentation including photos and mp3 downloads from "Conductor Number Seventeen Version 4.0" performed at Bronx River Arts in the Bronx, NYC on May 24th, 2003. ---------------------------------------------- -CP
Reduction in mediation or 'reading at close range' always results in a 'tripping' effect. 'Tripping' is a self-loss, a space with no immediate references, and can produce a feeling of psychic-weightlessness. 'Tripping' is the site of origin for knowledge construction. 'Tripping' is the space before we 'know'; before we begin to depend on this 'knowing.' When I perform a Conductor, I feel like I am 'tripping' in this sense. When people get caught up in the circuit of the Conductor, I can only hope that they too are 'tripping'. ---------------------------------------------- -CP
Performance is execution, execution is movement, movement is life. "Conductor Number Seventeen Version 2.0" at Collective Unconscious may be a raw, improvisational, informal and "sincere simulation." CN 17 V2.0 = mediation at close range ;) ---------------------------------------------- -CP
Our operation will commence 11.08.02 at 20:00, #56 Water Street, in a converted warehouse beneath the Brooklyn Bridge. There will be two of us. We will synchronize our watches. We will arrive on time. We will identify ourselves as "Conductor Number Seventeen." We will say, "This is a Technolecture. This is an Exposure. This is a Seance. Now Everyone get down on the floor." We will occupy the location with consumer technologies. We will apply creative solutions. We will use these technologies beyond the limits of their prescription. We will set up conditions. However, we will maintain an openness toward negotiation. Some witnesses may resist, some will inevitably be lost. It is our hope that some will recognize our call and apply memory toward others who came before us and who demonstrated in a similar faith and understanding. We have accepted failure into our design. We are not "playing to win." The moment may not hold us. History may call us traitors. History may not call on us at all. These are the dangers of performance. These are the risks incurred by dividing time so succinctly. This is the terror of decision making. ---------------------------------------------- -CP_V22 |
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CN_ZERO V6.0
is the latest version of my ongoing series of Conductor performances
(in update) that began in 1997. At the most basic level each performance
incorporates live video/surveillance technology. Each performance
requires viewers to observe in simultaneity the performance event
and the real-time (live) approximation of that event via video monitor.
Conductor performances set up paradoxical situations for experiencing
the presence of the physical performer while also experiencing the
distance imposed by the mediation of the video transmission or what
I consider, with regard to the Conductor series, "spectral
technologies." Edison invented the phonograph in 1877. Soon
thereafter the phonograph began to be referred to as the "ghost
box." The ghost box produced voices from people who did not
exist... at least in physical presence. At a lecture I attended
in 2001, at Columbia University, Jaques Derrida stated that "culture
is of the dead." To reproduce the "live" event is
to be involved with the work of the "dead", the very act
of entombment. This is why I sometimes think of my role as performer
as that of "medium" and the "Conductor" as something
of a séance. |