"I envisioned This Land Is Mine as the last scene of my potential-possible-maybe- feature film, Seder-Masochism, but it's the first (and so far only) scene I've animated. As the Bible says, 'So the last will be first, and the first will be last.'"
Fig.1 Nina Paley (2012) "This Land Is Mine".
"Sony Music has unveiled a graphic installation documenting the company's 125 year musical history. Designed by Alex Fowkes, winner of Creative Review's 'One to Watch' in 2011, the Sony Music Timeline runs throughout the central atrium of Sony's open plan Derry Street offices.
The Installation features nearly 1000 names of artists signed to Sony Music and its affiliated labels from the foundation of Columbia Records in 1887 to the present day, including musical icons Elvis Presley, Jimi Hendrix, Bob Dylan, Bruce Springsteen, Janis Joplin, The Clash, Micheal Jackson and many many more.
Interspersed among the artist names are certain key developments in technology, musical formats and corporate history - from the invention of early recording cylinders to vinyl, cassette, CD, radio, MTV, the Sony Walkman, the iPod and the introduction of digital streaming services.
The work is organised by decade into 54 columns measuring over 2 meters tall and covering almost 150 square meters of wall space. It uses CNC cut vinyl as the sole medium for the whole installation.
Emma Pike, VP Industry Relations, who commissioned the piece said, 'The brief was to bring the inspiration of our music into the heart of our building and make our office space live and breathe our incredible musical legacy. Alex’s beautiful graphics and illustrations do exactly that.'
Sony’s partnership with Fowkes is set to continue as the Sony Music Timeline will grow each year with the addition of new artist names signed by the major.'"
(Sony Music, 2012)
Sony Music Timeline Process Video, Design & Art Direction: Alex Fowkes Photography & Video: Rob Antill, Music Production: Joseph Bird.
"Lukasa, or memory boards, are hand-held wooden objects that present a conceptual map of fundamental aspects of Luba culture. They are at once illustrations of the Luba political system, historical chronicles of the Luba state, and territorial diagrams of local chiefdoms. Each board's design is unique and represents the divine revelations of a spirit medium expressed in sculptural form. While many lukasa utilize a system of denotation based on masses of shells and beads affixed to their wooden surfaces, this example communicates its content through incised designs and images carved in relief."
(The Metropolitan Museum of Art)
Fig.1 "Memory Board (Lukasa) [Democratic Republic of Congo; Luba] (1977.467.3)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/1977.467.3 (October 2006).
"I identify a two-decade period - roughly speaking 1985-2005 - as the pioneering experimental period of (computer based) interactive art. Crucial to the understanding of work in this period is the blindingly rapid development of the technological context. At the beginning of the period the graphical user interface was a novelty, the internet barely existed, the web was a decade away, interactivity was an intriguing concept. The production of acceptably high resolution illusionistic digital pictures (still frames) was an active research area and a megabyte of RAM was something luxurious.
The period neatly brackets the emergence of most of the major technological milestones which now undergird digital culture and ubiquitous computing: WYSIWYG, digital multimedia, hypermedia, virtual reality, the internet, the world wide web, digital video, real-time graphics, digital 3D, mobile telephony, GPS, Bluetooth and other mobile and wireless communication systems. It was a period of rapid technological change, euphoria and hype."
(Simon Penny, 2011)
Simon Penny (2011). "Towards a Performative Aesthetics of Interactivity", Fibreculture Journal, issue 19 2011: Ubiquity.
Fig.1 Sniff and Performative Ecologies were included in Emergence, a show of Artificial Life Art curated by Simon Penny and David Familian at the Beall Center for Art and Technology, University of California Irvine, December 2009 – April 2010. Regrettably Performative Ecologies did not function as designed during the exhibition.