New Underpaintings

"I Love You, Monster"
[underpaintings]
[NYC, 2010]
©pjm

CYCLOPS/3D/BLOGLINK

Scott, Brandii and CYCLOPS

Clips

Locale (2010)

Homage to the Great Emitter (2010)

Gramática parda [Artist panel + opening photos]

SHANE'S GP NET-ART PROJECT NOW ONLINE

http://www.superluckycats.com/processing/gpapp/index.html

Opening reception photoset at AFH Flickr

Showtime

ANDLAB foyer

ANDLAB Installation Photos

More photos at AFH Flickr.

Gramática parda [NoTD][POESIS]

The lingo love wrote was a minotaur,
A champion sought, redacted, perishable
deformed as a sheep with two names, bodies
unstable as windows in a swelling void

no number could count or king,
ruler of naught, ought impacted, the fable -
a dirigible glides by currents invisible
elevated, untouchable, [01]

sugary text extruded to mean
people round [n + 1] round assembling, magnetized
by vocalic alphabet enabled, a counting
signal - a rain falls in this garden - 1 AND/OR 2
COMMAND: KILL/
in Brooklyn, collapsing, molten
with a view from a bridge, represented
ass a mural or zeroes plus ones
transmission intercepted < collective
without water, muttering, dirty
words, touring a system, rats
of the third rail, pylons, beams
light, cursed. TRUE AND/OR FALSE
"never forget"

STOP REQUESTED: TITLE
HEADING: If you [C] a corporation [space
> on the Road
> from the East (-
>> KILL HIM
[fax noise, END PROGRAM]

- PJM 10/22/20 10AM
BROOKLYN
[for gramatica parda]

Shane's poster for GP ANDLAB expo

Web graphic for GP ANDLAB expo

©2010 PJM for Gramatica Parda

Superlucky Purr #1

The point of origination in this dimensional sound sequence [looped for presentation], titled "Superlucky Purr #1" is my kitten purring. The general scope of the exploration is the interplay of electronic intervention, vibration, selective filtering and language as an extension of body function. "Superlucky Purr #1" consists of digital and analog elements. The assembly of elements is primarily computer-enabled. The Sender-Receiver progression in the piece is complex, the end-user being the gallery guest.

"Superlucky Purr #1" isn't an audio recording (movement of air on the diaphragm of a microphone) as such. I was more interested in capturing the underlying rhythms of the purr, so I used a contact mic to record the vibrations. The kitten is situated now as a hollow-body electronic "musical" instrument. I also recorded other contextual or proximal vibrations and juxtaposed them with the purr. I set the secondary [sphere] focus on the ambient vibration as a constant, either naturally-occurring or artificial , but generally not sonically detectable or otherwise filtered by the "human ear."

Inspiration for "Superlucky Purr #1" was provided by the field recordings of Bernie Krauss, the vanishing sounds of North American frogs compiled by Charles M. Bogert, and artist-engineer Zach Poff, who taught me how to build and use contact mics.


Notations:

The rhythmic environmental subtext of my domestic space operates as the foundation for sonic architecture in "Superlucky Purr #1." For comparison, I considered how all of the sounds in an unmolested natural environment seem perfectly arranged to fit like puzzle pieces on an audio spectrum

Jimmy the Painting Chimp...

Link to story

platonic solids

Michael Hansmeyer's Platonic Solids.

Also in 3D.

Setting up phantogram piece...

Coyotes in Hollywood (4am):

Bitmap Matterhorn

©2010 PJM

[NoDT] Animation still + digital prints for Sept. 25 ANDLAB installation

©2010 PJM

1) BONE animation still [720x480px][Sideways8]
2-5) Digital Prints, 60"v x 42"h

A dreaming on skin [event]

Shots from installation in progress...

Nice mention in today's ExperienceLA newsletter

Chittipatis, Charnel Ground Lords

At the Rubin Museum, NYC; Photo: ©2010 PJM