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Showing posts from November, 2016

Hypernormalization

In a nutshell, this documentary is almost entirely about how our perceptions of the world are shaped, and how often the world we ‘see’ is fake. It is reality twisted by those in power in an effort to gain and maintain control over what people see and, thus, what people do and how they react. This is often perpetrated by the government with a technique called ‘perception management’ that makes reality something to be manipulated to suit their needs (like the Reagan administration’s painting of Gaddafi as a terrorist leader and America as a shining moral beacon in the world meant to fight him). This fake reality can interact with other fake realities and inspire their emergence by others (like the Soviet Union’s portrayal of being great and working when it was falling apart, which led to the US thinking it was stronger than it was). These fake realities have led to problems in their futures (like the extreme emergence of suicide bomber terrorists after their initial ...

Laurie Anderson Work

Music for Dogs Laurie Anderson obviously has a large volume of work to choose from but I felt personally drawn to her performances of “Music for Dogs”. Partly, I know, this is because I love dogs and likely has to do with missing my own, but I liked the idea of performances specifically for dogs. Anderson plays specific sounds at special frequency heard by dogs (and not necessarily by their owners) to get them reacting like people would at a concert. There are points in these videos where the crowds of dogs are either silent or all barking together like people signing along at a concert and it gives me joy to watch.

Lynn Hershman Work

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Time and Time Again I was interested in Lynn Hershman’s piece “Time and Time Again” for its creative use of viewer interaction. A person viewing this in gallery would see the projected feed real-time from a train station in Germany with their silhouettes projected over that filled in with random technology-based imagery (like circuit boards and such). I love pieces that feature some form of viewer interaction and this piece features two, even if one side (those at the train station) might not be aware of their own participation in the work, which is nevertheless just as important as the people in the gallery.