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Overture (excerpted
from News Cycle # 2)
Anthony Discenza
with Michael Zbyszynski, 2006
Running time: 4:30
“News Cycle 2” is a collaboration with electronic
composer Michael Zbyszysnki, originally presented at the Getty
Center in October 2006 as part of the “Distributed Memory” screening
program curated by Julie Lazar. Continuing themes investigated
in earlier works such as “November” and “Backscatter,” the
work takes a single day’s worth of news broadcasts from
all of the major cable news networks, and reprocesses this
information into a suite of seven “passages” that
takes us from early morning, midday, afternoon, and into late
evening. The live audio interface, custom-designed by Zbyszysnki,
allows the composer to extract data from individual horizontal
lines of video using a Wacom tablet, and uses this data to “sculpt” the
audio in real time. “Overture” is the first of
the seven passages, representing an entry point into the news
information set. This section does not employ the interface
designed by Zbyszysnki, but only the found audio from the source
material.
Viewing # 1
Anthony Discenza, 2007
Running time: 9:30
“Viewing # 1” represents a more recent shift in
my work towards the use of text. The work is a meditation on
the proliferation of images in the age of information, and
the limits of both textual and visual modes of representation.
Assembled from fragments of texts gathered by searching Google
for a specific phrase--“as the image becomes”--
the work uses a computer-generated voice to describe an imaginary
image under continuously shifting terms, in order to construct
a wholly internal viewing experience.
AfterLifers: Walking & Talking
(ExtenDead Version) HalfLifers
Anthony Discenza & Torsten
Z. Burns, 2007
Running time: 22:30
The HalfLifers, an ongoing collaboration between Anthony DIscenza
and Torsten Z. Burns, exhume cinema’s favorite incarnation
of mindless, decaying mortality in the hopes of breathing new
life into this misunderstood figure. From a panel discussion
in an old TV studio to a quarantined helicopter high above
California’s rolling hills, we join a pair of life-challenged
entities as they walk, talk, and chew over some of the more
difficult questions of this “whole linear birth-death
system.
Bio:
Between the relentless spread
of consumerism and the rapid advancement of technology, we
find ourselves exposed to ever-greater amounts of visual stimuli.
From television, movies, and the internet, to an endless sea
of magazines and other print media, a steady stream of highly
mediated imagery assaults us. In the constant battle for viewer
attention, more and more of our information, regardless of
its content or context, arrives in the form of elaborately
manipulated visual sequences formally and structurally indistinguishable
from mass entertainment. The result is a profound level of
alienation, a gradual poisoning of our own experience as the
logic of the spectacle colonizes our own internal narratives.
As a visual artist complicit in the production and consumption
of images, I find this situation both fascinating and deeply
problematic. I’m particularly concerned with the violence
which informs our media over-exposure. By this, I’m not
necessarily referring to specific violent images or content,
but rather to the dissociative effects produced by the speed,
quantity, and extreme disparity of the imagery we consume.
My work attempts to expose this violence while acknowledging
its seductive, anaesthetizing force.
Discenza
collaborates with artists such as Michael Zbyszynski and Torsten
Z. Burns. anthonydiscenza.com
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