http://www.mbiederman.com Matthew Biederman Mon, 07 May 2012 20:40:29 +0000 http://www.mbiederman.com en http://www.mbiederman.com/Event-Horizon http://www.mbiederman.com/following/mbiederman.com/Event-Horizon Mon, 07 May 2012 20:40:29 +0000 Matthew Biederman 3357291 <img src="http://payload52.cargocollective.com/1/0/7893/3357291/EH_capture03_640.png" width="640" height="400" width_o="2048" height_o="1280" src_o="http://payload52.cargocollective.com/1/0/7893/3357291/EH_capture03_o.png" data-mid="17248303" border="0" align="left"/><img src="http://payload52.cargocollective.com/1/0/7893/3357291/EH_capture02_640.png" width="640" height="400" width_o="2048" height_o="1280" src_o="http://payload52.cargocollective.com/1/0/7893/3357291/EH_capture02_o.png" data-mid="17248285" border="0" align="left"/><img src="http://payload52.cargocollective.com/1/0/7893/3357291/EH_capture01_640.png" width="640" height="400" width_o="2048" height_o="1280" src_o="http://payload52.cargocollective.com/1/0/7893/3357291/EH_capture01_o.png" data-mid="17248221" border="0" align="left"/><img src="http://payload52.cargocollective.com/1/0/7893/3357291/EH_Capture04_640.png" width="640" height="400" width_o="2048" height_o="1280" src_o="http://payload52.cargocollective.com/1/0/7893/3357291/EH_Capture04_o.png" data-mid="17249124" border="0" align="left"/><img src="http://payload52.cargocollective.com/1/0/7893/3357291/Quartz Composer - Untitled 2012-02-06 at 11.47.56_640.png" width="640" height="360" width_o="1920" height_o="1080" src_o="http://payload52.cargocollective.com/1/0/7893/3357291/Quartz Composer - Untitled 2012-02-06 at 11.47.56_o.png" data-mid="17249208" border="0" align="left"/>multichannel HD video, 4.1 audio, custom software, computers 2012 Commissioned for: 1st Biennial of Digital Art, Montreal Presented at: Salle McLaren, Cinematheque Quebecqoise May 3 - June 10, 2012 GFX/Code: Matthew Biederman AudioSynthesis: 4X The work metaphorically explores the phenomenon of the ‘event horizon’. Understood scientifically, the term refers to the space-time beyond which events cannot affect an observer. The most common situation where this occurs naturally are the edges of a black hole, where beyond the event horizon, no light escapes and can therefore not be observed. Taken metaphorically, the event horizon can be understood as the point of perception itself. Event Horizon reflects on the current discourse around ‘embodied perception’ where the act of perception cannot be separated based on sense (See Noë, Alva. Out of Our Heads). We see, hear, and feel with all of our body, simultaneously as we navigate space. Following this line, the idea of the event horizon is the point at which we perceive phenomenon, and we can place ourselves at our own individual event horizons. The architecture itself has it own event horizon, the plane of scrims that not only delimit the space, but also serve as a projection plane that it both solid and porous allowing the projection to be caught and pass through, again reflection a point of contact, or horizon. Many Thanks to: Alain Gauthier, Alain Thibault, Émilie Bourdrias, Martin Lemieux <img src="http://payload52.cargocollective.com/1/0/7893/3357291/IMG_3183_640.jpg" width="640" height="426" width_o="2000" height_o="1333" src_o="http://payload52.cargocollective.com/1/0/7893/3357291/IMG_3183_o.jpg" data-mid="17248482" border="0" align="left"/><img src="http://payload52.cargocollective.com/1/0/7893/3357291/IMG_3211_640.jpg" width="640" height="426" width_o="2000" height_o="1333" src_o="http://payload52.cargocollective.com/1/0/7893/3357291/IMG_3211_o.jpg" data-mid="17248511" border="0" align="left"/> pageTracker._trackPageview("/EventHorizon"); http://www.mbiederman.com/Freedom-Red-White-and-Blue http://www.mbiederman.com/following/mbiederman.com/Freedom-Red-White-and-Blue Wed, 09 Nov 2011 21:01:26 +0000 Matthew Biederman 2280692 (Quantified and Aggregated) Custom processed video using William Klein's 'Mr. Freedom' (1969) as source material. Each utterance of "freedom" was sampled, and the red white and blue colors from those scenes were extracted, quantified and aggregated over time. Commissioned for Artissima's 2011 "Mr. Freedom Summit", a Bétonsalon project curated by Anna Colin. more details here. pageTracker._trackPageview("/Freedom"); http://www.mbiederman.com/Guided-Saccade http://www.mbiederman.com/following/mbiederman.com/Guided-Saccade Fri, 28 Oct 2011 21:57:41 +0000 Matthew Biederman 2221276 <img src="http://payload.cargocollective.com/1/0/7893/2221276/install1_1.png" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/2221276/install1_1_o.png" data-mid="11108804" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/2221276/install2.png" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/2221276/install2_o.png" data-mid="11108979" border="0" align="left"/>Documentation of Guided Saccade at the 2011 Quebec Triennial - Museum of Contemporary Art, Montreal. Direct to screen recording sample. Guided Saccade 2011 Generative Wall Drawing Custom Software, computers, dimensions variable Documented at the Quebec Triennial 2011, "The Work Ahead of Us" Musée d'Art Contemporain de Montréal Chief Curator: Marie Fraser and Curators: Lesley Johnstone, Mark Lanctôt, François LeTourneux and Louise Simard Artist Matthew Biederman’s artwork Guided Saccade is a new conceptual approach to abstract art using the new media of digital technology. Following modernist artists of the 1960s such as Guido Molinari, and Sol LeWitt who focused on colour and form as their principle subject, Biederman uses software code to explore the intersection of colour, light and human perception. The title Guided Saccade refers to the rapid movement of the eye between positions of rest from one fixed image to another. In the way our eyes move as we read lines of text, our eyes also move as we read and perceive images. This art piece investigates human physiology and explores how we read and perceive images, movement and changes in pattern. Matthew Biederman uses software code to create visual art different from traditional forms of media such as painting, photography or even video. Biederman writes and develops his own software code to direct algorithms of changing colour and pattern, generating combinations of visual complexities as the colour elements change and repeat. Contrary to traditional forms of new media that use video or software of an artwork on a loop, Biederman’s piece builds on itself, iterating colour and pattern over time. - Kerry Goodfellow, ARBZ Visual Arts Collection pageTracker._trackPageview("/saccade"); http://www.mbiederman.com/The-Sea-Tundra-and-Ice-Papers http://www.mbiederman.com/following/mbiederman.com/The-Sea-Tundra-and-Ice-Papers Tue, 27 Sep 2011 12:46:22 +0000 Matthew Biederman 2063400 <img src="http://payload.cargocollective.com/1/0/7893/2063400/IMG_2957.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/2063400/IMG_2957_o.jpg" data-mid="10272006" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/2063400/IMG_2972.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/2063400/IMG_2972_o.jpg" data-mid="10272117" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/2063400/IMG_2986.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/2063400/IMG_2986_o.jpg" data-mid="10272123" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/2063400/IMG_3010.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/2063400/IMG_3010_o.jpg" data-mid="10272127" border="0" align="left"/> Images from the 2011 Lyon Biennial, curator: Victoria Noorthoorn 2011 laser etched glass, cartography, audio, text Matthew Biederman and Marko Peljhan (Arctic Perspective Initiative) Including contributions by: Napachie Pootoogook, Herve Paniaq, Harry Ikkirapiik Ittuksarjuat, John MacDonald, Cornelius Nutarak Sr., Pudlo Pudlat, Oshoochiak Pudlat, Simeonie Kopapik and Pitsaloak Ashoona. Herve Paniaq interview, courtesy of the Iglulik Oral History project Production: Zavod Projekt Atol, Ljubljana Coproduction: C-TASC, Montreal The project received generous support from the Ministry of Culture Republic of Slovenia, City of Ljubljana Cultural Department, Conseil des arts et des lettres du Québec CALQ, the Lyon Biennale and the University of California Institute for Research in the Arts Exhibition hardware and setup: Samo Stopar, Andrej Bizjak Technical assistance: sensestage/labxmodal, Metakinetik,Danny Bazo, Karl Yerkes at UCSB MAT SYSTEMICS, with additional contributions by Andres Burbano, Pablo Colapinto, Ritesh Lala and Solen Kiratli DiCicco Production coordination: Uroš Veber, Projekt Atol Thanks to: Lucy Uyarak, Steve Perry, Indy Hurt, Don Janelle, Leah Otak, Celina Kopiak, Peesee Pitsiulak-Stephens, Tanya Das Neves, Guillaume Saladin Ittuskarjuat, Annie Desillets, Claudio Aporta, John MacDonald, Kevin Ittuksarjuat, Brian Fleming, Celina Irngaut, Philippa Otoowaak, Dorset Fine Arts, C-ASTRAL Ltd., Catherine Rannou, Paul Quassa, Herve Paniaq, Zacharias Kunuk, Carol Kunuk, Oana Spinu, Paul Irngaut, Terry Uyarak, Tyson Qaunaq, Nejc Trošt, August Black and all of our friends and collaborators and the people of Nunavut. Forthcoming: CAHIER NO.5 SEA, TUNDRA AND ICE PAPERS in 5 languages (Inuktitut, Greenlandic, Sami, Russian, English), December 2011 pageTracker._trackPageview("/seaturndraice"); http://www.mbiederman.com/Subtracting-Color http://www.mbiederman.com/following/mbiederman.com/Subtracting-Color Tue, 14 Sep 2010 16:51:22 +0000 Matthew Biederman 634109 (excerpt) 2010 HD Video, single channel, 10:47 Loop By stacking gels, color is subtracted from white until there is only black. The process is then repeated with a different set of colors until a full set of gels are exhausted. pageTracker._trackPageview("/subtracting_color"); http://www.mbiederman.com/gLUTton-Fig-1 http://www.mbiederman.com/following/mbiederman.com/gLUTton-Fig-1 Thu, 11 Mar 2010 16:32:30 +0000 Matthew Biederman 307032 <img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_CU_01SM.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_CU_01SM_o.jpg" data-mid="1326876" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_CU_02SM.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_CU_02SM_o.jpg" data-mid="1326878" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_CU02_SM.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_CU02_SM_o.jpg" data-mid="1326879" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_DIST03_SM.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_DIST03_SM_o.jpg" data-mid="1326881" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_DIST04_SM.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_DIST04_SM_o.jpg" data-mid="1326882" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NCTR_01SM.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NCTR_01SM_o.jpg" data-mid="1326883" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NCTR_02SM.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NCTR_02SM_o.jpg" data-mid="1326885" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NCTR_03SM.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NCTR_03SM_o.jpg" data-mid="1326886" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NCTR_05SM.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NCTR_05SM_o.jpg" data-mid="1326887" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NCTR_06SM.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NCTR_06SM_o.jpg" data-mid="1326889" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTonNCTR_04SM.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTonNCTR_04SM_o.jpg" data-mid="1326893" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NRleft_02SM.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NRleft_02SM_o.jpg" data-mid="1326892" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NRleft_01SM.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTon_NRleft_01SM_o.jpg" data-mid="1326891" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTton_DIST01_SM.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTton_DIST01_SM_o.jpg" data-mid="1326894" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTton_DIST02_SM.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTton_DIST02_SM_o.jpg" data-mid="1326895" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTton_LONG01_SM.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTton_LONG01_SM_o.jpg" data-mid="1326896" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTton_NRight_02SM.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTton_NRight_02SM_o.jpg" data-mid="1326897" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/307032/gLUTton_NRright_01SM.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/0/7893/307032/gLUTton_NRright_01SM_o.jpg" data-mid="1326898" border="0" align="left"/> 2010 Generative digital wall drawing 2 HD Projectors, 2 Computers, custom software Invited by Gallerie PUSH for Nuit Blanche, Montreal. In Collaboration with Art45 Special Thanks to: HC Giljie l'iACT/UdeM institut Arts Cultures Technologies pageTracker._trackPageview("/gLUtton"); http://www.mbiederman.com/Spectrum-Survey http://www.mbiederman.com/following/mbiederman.com/Spectrum-Survey Fri, 18 Dec 2009 17:06:34 +0000 Matthew Biederman 194869 <img src="http://payload.cargocollective.com/1/0/7893/194869/Picture 1_640.png" width="640" height="541" width_o="1043" height_o="883" src_o="http://payload.cargocollective.com/1/0/7893/194869/Picture 1_o.png" data-mid="832317" border="0" align="left"/> A Project of the Office of Spectral Ecology Project hosted here: http://www.agencetopo.qc.ca/spectrumsurvey/index_en.php Spectrum Survey is built on a collection of measures of the electromagnetic environment of the city. The artist toolkit (GPS devices, photo, video, trifield broadband measure, etc.) allows one to record traces of electromagnetic radiation: electricity, waves and frequencies, magnetism as well as WiFi web routers. Anything using electric power or wireless transmission affects the local electromagnetic field. Powerlines, cell phones, radios, automobiles, lightbulbs, everything. The electromagnetic field around your body can consist of noise from power lines overhead, data from a nearby wireless router, radio and television broadcasts, the earth’s natural magnetic field or any combination of these. Walking around the city or country is very different than it was only 50 years ago. If we could only see, or sense the electromagnetic field around us, we might consider space differently. ‘Empty’ space is hardly empty anymore, and at any given moment you might be passing through a lover’s quarrel taking place over the telephone, or an international bank transfer worth millions of dollars. The project Spectrum Survey renders the traffic of spectrum visible in a particular place in time. By doing so, the electromagnetic spectrum can be seen on the same level as other parts of environment. Full info is here: http://www.agencetopo.qc.ca/geoweb/info_spectrum_en.php http://www.mbiederman.com/Tuning-Corridor http://www.mbiederman.com/following/mbiederman.com/Tuning-Corridor Fri, 18 Dec 2009 16:48:02 +0000 Matthew Biederman 98586 Documentation of Installation at: 7 Festival Internacional de video/arte/electrónica Lima, Peru 2003 Tuning Corridor locates one’s body within the broadcast radio band. The work is an empty corridor that responds to the movement of bodies walking from one end to the other of a sensor-based hallway. People’s movement trough the corridor triggers an invisible bank of radios to tune through the local FM radio band in relation to their location within the hallway. Tuning Corridor confronts the viewer with the awareness that the broadcast radio spectrum is around us all the time by way of physically locating the corporeal experience within one of its broadcast information-spheres (the FM radio frequency band). Through this experience the viewers are able to position themselves within a normally invisible structure, allowing them to interact within it. pageTracker._trackPageview("/tuning_corridor"); http://www.mbiederman.com/Volt http://www.mbiederman.com/following/mbiederman.com/Volt Fri, 04 Dec 2009 16:34:15 +0000 Matthew Biederman 173325 <img src="http://payload.cargocollective.com/1/0/7893/173325/Volt-05_sm.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/173325/Volt-05_sm_o.jpg" data-mid="748172" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/173325/Volt-04_sm.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/173325/Volt-04_sm_o.jpg" data-mid="748173" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/173325/Volt-03_sm.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/173325/Volt-03_sm_o.jpg" data-mid="748174" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/173325/Volt-02_sm.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/173325/Volt-02_sm_o.jpg" data-mid="748176" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/173325/Volt-01_sm.jpg" width="640" height="427" width_o="640" height_o="427" src_o="http://payload.cargocollective.com/1/0/7893/173325/Volt-01_sm_o.jpg" data-mid="748177" border="0" align="left"/>2009 HD A/V Performance ensemble, tape, and video Composer: Alain Thibault Video: Matthew Biederman Conductor: Walter Boudreau The musical roots and sound material of Volt+ originate in a work first composed in1987. This new piece, is enhanced by an original video using early footage from Miguel Raymond. Volt+ maintains a 1980s flavor in its use of sounds once associated with digital samplers and electronic percussion. These sonorities strongly reference the period, and recall in particular the work of Trevor Horn (Yes, Frankie Goes to Hollywood, Propaganda, etc.). The visual aesthetic that runs through Volt+ harkens back to specific ways of treating electronic images during the period that saw the creation of the first analogue and digital video synthesizers. The musical and visual content of this piece re-contextualizes and provides new presence for éléments associated with ‘80s mass culture. As it continues to reinvent itself, this period marks a point when electronic sounds became definitively integrated in musical culture as an essential part of its discourse and also witnessed the introduction of the idea that machines could perform music. Commissioned by Radio-France for the 2009 Présences festival. Presented at: Montreal New Music Festival, Montreal, QC Festival Présences 2009, Maison de la Radio, Paris France Opéra Berlioz, Montpellier, France pageTracker._trackPageview("/volt"); http://www.mbiederman.com/Tetrachroma http://www.mbiederman.com/following/mbiederman.com/Tetrachroma Tue, 01 Dec 2009 22:24:03 +0000 Matthew Biederman 169270 <img src="http://payload.cargocollective.com/1/0/7893/169270/TetraChroma_640 028.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/0/7893/169270/TetraChroma_640 028_o.jpg" data-mid="730278" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/169270/TetraChroma_640 024.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/0/7893/169270/TetraChroma_640 024_o.jpg" data-mid="730282" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/169270/TetraChroma_640 025.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/0/7893/169270/TetraChroma_640 025_o.jpg" data-mid="730281" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/169270/TetraChroma_640 026.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/0/7893/169270/TetraChroma_640 026_o.jpg" data-mid="730280" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/7893/169270/TetraChroma_640 027.jpg" width="640" height="426" width_o="640" height_o="426" src_o="http://payload.cargocollective.com/1/0/7893/169270/TetraChroma_640 027_o.jpg" data-mid="730279" border="0" align="left"/> 2008 2 HD projectors, computer, custom software 2 projections slowly cycling through different color fields are overlaid with one another, attempting to imagine a tetrachromatic color at the interstices of overlap. Most birds, some bees and a very small percentage of people are visually sensitive to another region of the electromagnetic spectrum outside of the normal 'red, green, and blue' regions. How might a new color appear? tetrachromat wikipedia link pageTracker._trackPageview("/tetrachroma");