[May 12-13] CTW Exhibition: háček by Margaret Anne Schedel and Melissa F. Clarke

háček presents a physical installation, VR experience, and printed data maps. It employs data to inform an immersive installation while positioning it’s larger impact towards metaphors of networked landscape, security and wayfinding. The data used is taken from real network traffic logs, tracking hackers in real time as they race to be the first in line at the Shmoo Group website, pummeling the site with DDOS, port scans, and sneaky malware as they compete to be the first to get their hands on the prize. The valiant defenders deflect bots, cheats, and attacks at every turn as they try to keep the site online. háček is not just data visualizations or VR gaming in the formal sense—but more akin to abstractions and metaphorical art works that reflect the data, pieces potentially to be enjoyed entirely out of context. Sponsored in part by Harvestworks with funds from O’Reilly Media.

Creative Tech Week celebrates the explosion of technology onto the global art and music scene and highlights the leaders at our educational epicenters for technological innovation in the arts.

The Knockdown Center 52-19 Flushing Ave, Maspeth, NY 11378

Friday May 12 Opening reception Friday 6-8pm   (ticketed with access to performance)

Saturday May 13 from noon – 7 pm  (ticketed with access to performance)

FREE

BIOS

Margaret Anne Schedel is a composer and cellist specializing in the creation and performance of ferociously interactive media whose works have been performed throughout the United States and abroad. While working towards a DMA in music composition at the University of Cincinnati College Conservatory of Music, her interactive multimedia opera, A King Listens, premiered at the Cincinnati Contemporary Arts Center and was profiled by apple.com. She holds a certificate in Deep Listening with Pauline Oliveros and has studied composition with Mara Helmuth, Cort Lippe and McGregor Boyle. She is a joint author of Electronic Music and recently edited an issue of Organised Sound on the aesthetics of sonification. Her work has been supported by the

Presser Foundation, Centro Mexicano para la Música y les Artes Sonoras, and Meet the Composer. She has been commissioned by the Princeton Laptop Orchestra and the percussion ensemble Ictus. In 2009 she won the first Ruth Anderson Prize for her interactive installation Twenty Love Songs and a Song of Despair. Her research focuses on gesture in music, the sustainability of technology in art, and sonification of data. She sits on the boards of 60×60, the International Computer Music Association, and is a regional editor for Organised Sound. From 2009-2014 she helped run Devotion, a Williamsburg Gallery focused on the intersection of art, science, new media, and design. In 2010 she co-chaired the International Computer Music Conference, and in 2011 she co-chaired the Electro-Acoustic Music Studies Network Conference. She ran SUNY’s first Coursera Massive Open Online Course (MOOC), an introduction to computational arts. As an Associate Professor of Music at Stony Brook University, she serves as Co-Director of Computer Music and is the Director of cDACT, the consortium for digital art, culture and technology.

Melissa F. Clarke is a Brooklyn, NY based interdisciplinary artist making multimedia installations using sound, video, and interactive art. Clarke also creates still images, participatory works, and multimedia design projects. Melissa was a recent artist in residence with Clock Tower at Pioneer Works, Visible Future Labs at the School for Visual Art and the Simon’s Center for Geometry and Physics. Clarke has performed and exhibited her multimedia work at spaces such as: Pioneer Works, NY, Loop Festival, Barcelona, Center for New Music, CA, Interactive Art Fair, FL, Eastern Bloc, CAN, Reverse Art Space, NY, 319 Scholes, NY, Eyebeam, NY, Issue Project Room, NY, Simons Center for Geometry and Physics, NY, Electronic Music Foundation, NY, and with the Queens Museum, NY. Her work has been featured by the Art F City, Creators Project, L Magazine, Art in America, and with publications such as the Village Voice, Kickstarter, Art 21, Blouin Art Info, Impose Magazine, and Columbia University’s State of the Planet. Clarke is a graduate of NYU’s ITP program with a Tisch Fellowship. Clarke received her masters from New York University’s Interactive Telecommunications Program, with a two year Tisch School of the Arts Fellowship. With her recent installation project, Untitled Antartica, Clarke endeavors to reconnect seismic data collected from beneath Antarctic glaciers with its organic source. Using sound, video projection, wood, and glass sculpture, she creates immersive neolandscapes giving physical form to the information collected about the giant landmass and the terrain beneath the seas surrounding it.

COLLABORATORS: Laura Munn, Michael Witkovsky, Kari Barry, N.K. Laurence, Imoni Cole-Palmer & Tim Vallier

Favorite Quotes

 “ What Melissa F. Clarke reveals through her installation is how the confluence of interior and exterior data generates a range of intermediate places. Their asymmetrical occurrences transform boundary surfaces at the meeting point of multiple environments, showing how different functions, forces, and energies redefine or alter different states of matter. Like with our appreciation of the Antarctic landscape, understanding of the dimensions created within the installation is a matter of scale, observation, and interaction.” –https://anti-utopias.com/art/melissa-f-clarke-untitled-antarctica/
“ The discogs.com entry for Melissa F. Clarke is mercilessly brief, and with good reason. This New York-based sound artist doesn’t go in for headphone music; she crafts immersive, science-fueled audio/visual experiences that demand observation of the interplay between images and sonics, like the haunted hum of Untitled Antarctica—which riffs on Sonogram-reading image onrush as it calls to mind the majesty of arctic ice while nodding at its depletion—or the nullifying, cornea-peppering turbulence of Bacteria, her collaboration with video artist Shimpei Takeda. (Her single-medium work is arresting, but her multi-sensory adventures are transcendent.)” –http://www.villagevoice.com/music/qanda-melissa-f-clarke-on-traveling-to-greenland-by-boat-the-kickstarter-model-and-hyperawareness-66413813)
“ Growing up in the Northeast United States, ITP grad and new media professor Melissa F. Clarke has always been surrounded by nature’s extremities—most notably the cold, snowy winters that are often apparent in her works. Geography, land, weather and the numbers and data behind these naturally occurring phenomena are major influences and components in her cross-disciplinary pieces. But what’s really interesting about her installations and multimedia projects, is that a certain project tends to evolve over several different mediums as the work progresses.” https://creators.vice.com/en_us/article/space-invaders-inside-melissa-f-clarkes-brooklyn-studio
 Margaret Schedel Press

Studies Blog:  Sounds of Science, The Mystique of Sonification   

      Stony Brook University: Sounds of Science

        Atomic Radio Break Into Pieces

      Art + Music + Technology Podcast 003 & 073 Margaret Schedel

         http://artmusictech.libsyn.com/podcast-073-margaret-schedel

          http://artmusictech.libsyn.com/podcast-003-margaret-schedel

Melissa F. Clarke Press

https://creators.vice.com/en_us/article/ice-queen-melissa-f-clarkes-new-installation-interprets-climate-change

https://creators.vice.com/en_us/article/space-invaders-inside-melissa-f-clarkes-brooklyn-studio

https://anti-utopias.com/art/melissa-f-clarke-untitled-antarctica/

Bookmark the permalink.

Comments are closed