Re:FACE, Anchorage Version 2010 | Tmema (Golan Levin & Zachary Lieberman) Re:FACE [Portrait Sequencer], Anchorage Version (2007-2010: Golan Levin and Zachary Lieberman) is a playful interactive video installation commissioned by the Municipality of Anchorage 1% for Art Program, for permanent display over the entryways of Anchorage East High School, Alaska. Based on the Victorian "Exquisite Corpse" parlor game, and our previous small-scale prototype, the Re:FACE installation records and dynamically recombines brief video slices of its participants' mouths, eyes and brows. In this version of the installation, six large LCD screens — four over the school's North entrance, and two over the South — present an endless remix of face videos created by the students at East High. Students record their face videos using the project's custom Capture Station, located in the school's library. Anchorage East High School has one of the most diverse student populations in the United States.
Space 242 Ursonography 2005 | Jaap Blonk and Golan Levin Ursonography (2005: Jaap Blonk and Golan Levin) is a new audiovisual interpretation of Kurt Schwitters’ Ursonate, a masterpiece of 20th Century concrete poetry in which speech is reduced to its most abstract and musical elements. Dutch sound poet and virtuoso vocalist Jaap Blonk has performed the half-hour Ursonate more than a thousand times; in this presentation, Blonk’s performance is augmented with a modest but elegant new form of expressive, real-time, “intelligent subtitles.” [Italiano] In Ursonography Jaap Blonk e Golan Levin ripropongono una interpretazione audio e visuale della Ursonate (1922-1932) di Kurt Schwitters, un capolavoro di poesia concreta del XX secolo nel quale il linguaggio viene ridotto ai suoi elementi più astratti e musicali. The following 6'15" video at YouTube and Vimeo shows excerpts of the Ursonography performance from its premiere at the Ars Electronica Festival, September 2005 in Linz. Additional Resources Video
Hasty Pudding Counter Monuments background/history In February 2014, we launched a redesigned version of our website to better meet the needs of the Facing History and Ourselves community. As part of the transition to the new site, we have also taken the opportunity to review thousands of existing pages and do some house-cleaning. Some older pages were phased out, particularly pages and media that had become out of date editorially, or that no longer worked because of changes in technology. If you're visiting this page, you may have used a link to one of these retired pages. We hope you will visit these pages to find our latest resources: For Educators and Educator Resources provide an in-depth starting place for exploring all our resources for educators. Other great tools to find what you need: Featured Projects Readings Resource Collections Publications Library We also have lots of features for our larger community, or those new to us. Search the site for what you're looking for
BCAE The Temple: Sacred Heart of Black Rock City [Lee Gilmore teaches Religion & Anthropology at California State University Northridge and is author of Theater in a Crowded Fire: Ritual and Spirituality at Burning Man. This post is part of the Metropol Blog Series.] As travelers, historians, and archaeologists can tell you, great cities contain spiritual and ritual centers–physical manifestations of the human quest for the transcendent and magisterial. Grand cathedrals, imposing temples, and mosques with soaring minarets–each an attempt to intersect both divine and earthly powers. For Black Rock City, that heart is perhaps best identified with the annual Temples–each an ephemeral locus of memory and mourning. Rod Garrett tells us that the origins of BRC’s famous layout of concentric circles lay in pragmatic and organic decisions. Temple of Tears, 2001 To lead our design thinking we look to the idea of Counter-Monument.
Cambridge Forum