DEMO Video: Post-Cinema: 24fps@44100Hz

As Karin posted yesterday (and as I reblogged this morning), our collaborative artwork Post-Cinema: 24fps@44100Hz will be on display (and on sale) from January 15-23 at The Carrack Modern Art gallery in Durham, NC, as part of their annual Winter Community Show.

Exhibiting augmented reality pieces always brings with it a variety of challenges — including technical ones and, above all, the need to inform viewers about how to use the work. So, for this occasion, I’ve put together this brief demo video explaining the piece and how to view it. The video will be displayed on a digital picture frame mounted on the wall below the painting. Hopefully it will be both eye-catching enough to attract passersby and it will effectively communicate the essential information about the process and use of the work.

Post-Cinema: 24fps@44100Hz

The New Krass


This piece, consisting of an acrylic painting (24″x24″) and an augmented reality (AR) digital-video overlay, is a collaborative artwork made together with my husband Shane Denson. It will be featured on the cover of the soon forthcoming book Post-Cinema: Theorizing 21st Century Film, which Shane edited along with Julia Leyda, and it will be on display at The Carrack Modern Art gallery in Durham, NC from January 15-23, 2016.

For the painting, I started with a photo that I took of our dog Evie lying in front of another of my paintings, Glitchesarelikewildanimals!No.1, which itself was based on a digitally glitched (databent) picture of Evie. I subjected the new photo to a similar process, first turning it into a video in a nonlinear editing program (Final Cut Pro) and then deforming the video by sonifying it in an audio editing program (audacity).

You can see the…

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Karl Marx Garden Gnome at The Carrack Modern Art


I have written before about Karin Denson’s crazy hand-crafted garden gnomes, based on figures from popular culture, philosophy, and modern art (see here for a piece I posted about them last year). Recently, Karin’s gnomes have taken on new dimensions — quite literally, in fact — as she has transformed personal data collected during Internet browsing sessions into a sort of “portrait” of the user, subsequently turning this image of the interface into a gnome’s “data face,” and then subjecting the poor creature to a strict (but playful) regimen of photogrammetry, AR enhancement, and 3D printing. These new aspects, developed as part of the collaborative Manifest Data project, have further expanded the gnome’s artistic questioning of popular and high-art cultural formations, material and immaterial labor processes, class consciousness, national identity, and the role of seriality in all of them.

It is only fitting, then, that as we prepare for next week’s presentation of Manifest Data, in which context Karin’s data gnomes mount a brave attempt to reverse the neo-cyber-Marxian dictum that “all that’s solid melts into zeroes and ones,” another of Karin’s gnomes is also currently on display: Karl Marx himself, or his gnomic Doppelgänger, is haunting the gallery, bringing things down to earth, and making them concrete (literally: solid concrete). This week only, the Karl Marx gnome can be seen at The Carrack Modern Art, where he’s participating in a community show featuring 100 local artists from the Triangle area of North Carolina. The show runs today through Friday, 12-6pm, and Saturday 2-5pm. Also, as part of “Third Friday Durham,” there will be a reception with food, wine, and music this Friday, January 16, 2015, from 7-10pm. If you’re in or around Durham, don’t miss it!