Outside Art Experience #2

Art At Coachella

By Lucas Marsh

One of the worst decisions I made scholastically this semester was attending the Coachella Art and Music Festival in Indio, California.  Aside from having an incredible lineup of musical artists, there was an incredible amount of incorporated, cutting edge art installations.  Since I've been involved in CIA this semester, I was very curious as to how art and technology could be a potential career path.  I saw bands perform that I'd probably only have a once and a lifetime opportunity to see as well as view contemporary art production.

Creator's Project (http://www.thecreatorsproject.com/coachella)
The "Creators Project" is a collaboration between the Intel Corporation and Vice (art and technology magazine) which designed and implemented the extensive art production at Coachella Music Festival.  Specifically certain artists worked on single projects while many others were immense collaborative productions.


UVA (United Visual Artists) along with artist Mira Calix (both from the UK) designed the main stage where some pretty incredible shows were put on visually.

1.)  Arcade Fire:

Artist Chris Milk created Arcade Fire's finale which consisted of 1000s of beach balls shot out of the top of the main stage and onto the crowd, each embedded with IR transmitters and RGB LEDs to control the patterns of color emitted. 

Animal Collective:

While Animal Collective finished setting up, the main stage showed this pretty incredible light show bye UVA:

Chemical Brothers:

This set involved multi angled 3d video projection.  I've never seen anything like it.

Sahara Tent: Designed by Brazilian Artist Muti Randolph not only had a brilliant wall of LEDs and LCDs but strings of RGB leds hanging from the ceiling which also showed animations:

Steve Angello

Afrojack

Sculptural:
Aside from the interactive music installations there were a  barrage of larger than life sculptural creations which intensified the futuristic realm we'd entered.

Insects:

Night

and

Day

Neon Trees (where everybody would try to go and find they're group but almost always fail):

Pterodactyl (if you pedaled really hard for a really long time the wings would flap:

Unfortunately charging cameras and phones was unbearably awful and nearly impossible to do when thousands of people are crowding around a singular location to charge electronics.  Therefore most of these images and video were taken from blogs, Google Images, Youtube, etc.  I don't know if I'll return next year considering how difficult it made school for me this semester, but I'm sure next year's stage production will somehow attempt to out do this years.

Outside Art Experience #1

White Ring at Elboroom
A Sound Art/Music Review by Lucas Marsh

So I'm approaching the point where I thought I was sick of the electronic music: the electro, house, the dubstep, the 8bit, the glitch, trance, (trip hop) the etc., blah, etc. (the expanse of sub genres pointless listing off, nor could I ever do that because I hardly care to waste our time).  So my friend Sam at Berkeley (UC) hits me up and says something along the lines of "Hey man I'm gunna be in San Francisco tonight for this weird ass show at Elboroom called "White Ring" and you'd probably be down".  I asked if I could "chalk it up as an art show because I had to write some silly paper for one of my classes (GWAR, duh)”.  He said it was some “crazy hip hop sound art” and that there’d be a barrage of weird people and trannies and shit”  and which made me reconsider joining the man.  And then my other friend hit me up, stoked that I was going to meet both of them at the show (they also both needed a place to stay in San Francisco as well, I’m sure half of the reason both of them were stoked to meet up with me… why do I always assume the worst out of people… hmm).  So we go to this kid’s house that I’ve known since high school from Roseville named Chris, my friend Dan, Chris’s girlfriend and her friend for some time. I tell them about the show and nobody is down to go.  So we went to a USF party in the Haight, having first to open a bottle of wine with a shoe.  We opened the portal only to find an apartment land where the guys had tank tops and the girls were ugly.  So I looked for a moment when I could break out of there.

I suddenly made my move as some jacked asshole began to elaborate on how awesome Academy of Art panned out to be for him, or something (I was annoyed by his mock collar Emporio Armani euro trash influence).  I decided not to talk shit about how much money he wasted and how portfolios are the only thing that really matters (or so they tell us) in getting work, a gallery, residency, gradschool acceptance etc..  I grabbed Dan and we took a cab to the Mission, met up with Sam and the other friend David, and passed around the bottle of wine I’d opened “via shoe” in an alley way (it really doesn’t even sound that cool on paper).  I got in and immediately waved at the people selling tickets like I’d just been outside havin’ a smoke and skipped on paying the ten dollar entrance fee and then proceeded to run upstairs.

So then I was transported through the “stairwell portal” and into a kind of alien infested, haunted, “Enter the Void” slaughterhouse realm.  It’s like Crystal Castles on Salvia (yes, specifically).  There was no dancing initially, only attempts to comprehend.  And then there were glitched break downs, gangster rap, dubsteppies, electro, etc. and then it would stop and return to droney “murder land”.  It was fucking crazy.  I’m in the electronics and robotics class and so seeing how White Ring’s visual effects (probably integrated using Max MSP).  It was a culmination and integration of so much party music available while maintaining this dark undertone reminiscent of a Satanic Blood Orgy (no I have not been to one……………………yet?).  So I danced like I was “serving” Satan himself; that fool could never beat me in a dance off regardless of how expansive his evil-wielding powers are.

A Video I filmed of "White Ring" Live at Elbow Room

So then I checked out their influences and surprisingly it is mostly DJ Screw “chopped and screwed” Houston Swisha House gangster rap.  Interestingly I hate every song that’s ever been chopped and screwed.  Maybe I don’t “pour up” enough and sip enough sizzurp ( promethezine + codeine syrup + seven up or sprite + a Jolly Rancher = sizzurp) to be into chop and screw.  Here is an example: listen to UGK’s hit “One Day” and get stoked.

Now listen to the DJ Screw chopped and screwed remix of the same song  and get angry:

But White Ring and other “WitchHouse” artists apply this style to electronic music.  And so I have some new stuff to listen to. Sweet.

Monument Research

 

I found an article that discusses the deconstruction of "Monument to Humanity"in Istanbul, Turkey by Turkish artist Bedri Baykam.  The monument became a symbol of the hatred and animosity between Turkey and Armenia.  Turkey has refuted history regarding the mass killings of Armenians under Ottoman rule.  The two party Turkish government, half pious Muslim Nationalist and Secularists, are in heavy competition for upcoming elections.


The Prime Minister had described the monument as "freak" and promptly the city council voted to dismantle the monument.  The 35 foot monument was in relative proximity to an Islamic Mosque which also stirred the pot.  For a country so desperate to join the European Union, one could argue that their appreciation and value of Art might need a little improvement.  Baykam, an ultrasecularist said this action would make the Art World view Turkey as the Taliban and since has become an avid spokesperson for Turkey-Armenia reconciliation.

In addition Baykam was stabbed by a man who was quoted saying “I cannot stand Bedri Baykam. That’s why I stabbed him. I don’t like his opinions.”

Read more: http://www.dailystar.com.lb/Apr/21/Monument-to-Humanity-public-art-to-be-demolished.ashx#ixzz1M5XkbTxO
(The Daily Star :: Lebanon News :: http://www.dailystar.com.lb) 


I was interested in this topic because we've been discussing how the meanings of monuments change as they exist in their space.  I find it incredible that people can find so much personal offense in political commentary that has no definitive meaning.  It doesn't say "The Turkish Government are assholes because they are refuting the mass genocide of Armenians".  It was a beautiful work (though unfinished):

It's interesting that usually the meaning of a monument will be changed if it is disapproved by the public; in this case the monument was deconstructed and the artist was stabbed.

Improbable Monument "Fabric"

Introduction:
"Fabric" is a transparent Calabi Yau manifold placed above ground in the center of the largest particle accelerator in the world, the Hadron Collider (2km in diameter) which spans the border of France and Switzerland.  The monument allows the viewer to visually comprehend the scientific theories underlying the research being done at CERN (European Organization for Nuclear Research).


Background:
When considering monuments, countless examples of monuments hailing gods which had been deemed the creators of man and the surrounding universe seemed most apparent.  Until recently humans could really only praise mythological human constructs for their existence.  Modern achievements in mathematics, science and technology have permitted alternative theories regarding the creation of the universe, life, and humans.  


Super-string theory is the current model in connecting Einstein's general relativity (E=MC^2) which describes the first fundamental force's (gravity) on large scale objects with Quantum theory which only involves the other three of the four fundamental forces (electromagnetic, strong nuclear and weak nuclear forces) on subatomic particles. In order to permit the investigation of quantum particles and all of the forces acting upon them, super-string theory came to be the uniting platform.  "The basic idea is that the fundamental constituents of reality are strings of the Planck length (about 10⁻³³ cm) which vibrate at resonant frequencies. Every string in theory has a unique resonance, or harmonic. Different harmonics determine different fundamental forces" (http://en.wikipedia.org/wiki/Superstring_theory).


In order to do this, a continuous 6 dimensional loop had to be united with the three physical dimensions knowingly along with time in order to create a consistent paths in which quantum particles coming in and out of existance could be traced.  The 6 dimensional object used in this analysis is called a "Calabi Yau Manifold".  "Calabi-Yau spaces are important in string theory, where one model posits the geometry of the universe to consist of a ten-dimensional space of the form MxV, where M is a four dimensional manifold (space-time) and V is a six dimensional compact Calabi-Yau space" (http://mathworld.wolfram.com/Calabi-YauSpace.html).


Being that much of the research on activity at the quantum level is being done at CERN (European Union of Nuclear Research) using the large hadron collider, what a better place to display this monument but the dead center of the collider tunnel. 


"CERN, the European Organization for Nuclear Research, is one of the world’s largest and most respected centres for scientific research. Its business is fundamental physics, finding out what the Universe is made of and how it works" (http://public.web.cern.ch/public/en/About/About-en.html).


Description:
"Fabric" is a glass 12'x12' three dimensional representation of a Calabi-Yau Manifold.

What it represents, signifies or commemorates:
"Fabric" represents Super String Theory physically and conceptually.  The "Fabric" monument itself is only the visual representation of the planes in which quantum particles exist and move, while its placement on the in the 3 dimensions of Earth represent the connection super string theory makes between quantum theory and the theory of relativity.  Its placement directly onto the earth over time (the 4th "earthly" dimension) will show grass growing upwards or erosion occurring, thus all dimensions involved with string theory will be present in its existence.  In super string theory, the 6 dimensional Calabi-Yau Manifold is dwarfed by the 3 physical dimensions, and therefore its relatively small scale  in accordance to the world it sits upon is somewhat consistent in juxtaposition.


Last "Fabric" represents CERN itself and the research on the nature of the universe and all things throughout the study of the interactions between subatomic particle collisions.  


Why it is important:
"Fabric" and its connection of 10 dimensions as a monument brings the viewer away from the notion of a "humanesque" creator and into that which contemporary scientific theories hint upon as the fabric of our creation as well as the platform (CERN) of discovery.


Since two dimensional graphic representations of Calabi-Yau Manifolds are difficult to comprehend, a three dimensional representation of a Calabi-Yau could allow for a viewer to understand what 6 dimensions "looks like" in 3 dimensional space.  In placing this 6 dimensional object in a 3 dimensional space along with the inherent additional dimension of time permits the 10 dimensions of super string theory to be realized, as visually and conceptually possible, to the visiting viewer.

Where it is located and why this specific location:
"Fabric" is placed in the direct center of the circular Hadron Collider tunnel at CERN and lies in the grassy field of farmland 100 meters above the underground tunnel.  It should be viewed at this specific location because it is physically and metaphorically at the "center" of particle research.


"Fabric's location on the globe is at latitude: 46°16'36.09"N, longitude: 6° 3'58.82"E, which is in the farmlands just south of the village Bretigny, Northeast of Geneve Switzerland.


"Fabric" is ancored deep within the soil beneath it but permits the growth of shrubbery at it's base to ensure the 4th dimension, time, is realized.

How the monument works, What it does, size, What its made of:
The monument is constructed of bullet proof glass, polycarbonate thermoplastic and layers of laminated glass, bolted to a rooted steel frame.  It serves only the purpose projecting ideas the viewer can meditate upon as well as honoring the field world of physicists and expansive knowledge brought by scientists of the past.

How people view and/or interact with it:
The transparent glass construction material allows for the viewer to see "Fabric" without it blocking the view of the surrounding scenery.  This contrasts stone monuments of deities or religious symbols which block whatever is behind the monument in the viewer's line of sight.  This allows the viewer to maintain a sense of harmony between "fabric" and the rest of the physical world in which it lies.  


Why it is improbable and how it challenges more conventional monuments
As a monument, "Fabric" conveys human existence through a scientific lens (symbolically and physically due to transparent glass) as opposed to a deity or string of myths.  The monument contrasts modern theory of existence and creation against all Old World notions of how humans and the universe came to be (God?).  
As well, "Fabric" unites the 10 dimensions super string theory refers to by use of it's placement in the world; the Calabi-Yau manifold is only half of the concept.  This deviates from the idea of the monument itself being the focal point and brings attention to the unification of both positive (the manifold) and negative spaces (the rest of the world).


Benefits:

Comprehending superstring theory is difficult enough to understand let alone visualize the dimensions used in its theories.  "Fabric" helps the viewer/visiter visualize and conceptualize the planes of existance in which subatomic particles are being studied at CERN as well as other laboratories.  Allowing the viewer to reference the 6 dimensional structures in which these particles are studied as well as their connection to the 4 dimensions consciously present in their world permits a conceptual understanding of the relevence of super-string theory.  In addition, "Fabric" is a monument that honors science's constant quest to build on knowledge and understanding and CERN being a platform for breakthrough discoveries.  No longer are people looking up to "God" but into the very fabric of our makeup for answers.


Timeline:

1.)  Propose idea to CERN, European Union, town involved, and owner of land.  May have to purchase plot of land for monument.


2.) Create a feasible model of a Calabi-Yau manifold on a program such as solid works that could represent a visually significant object but not necessarily mathematically accurate object.  A perfect manifold may be close to impossible to create three dimensionally.  Also material limitations will have to be taken into account and changes may have to be made.


3.) Design a base that is sturdy and figuring out how deep and wide it must penetrate the Earth's crust.


4.) Manufacture: May have to be molded in pieces then pieced together at site for final construction.  Design will also have to reflect manufacturing limitations as well.