My movie the Dark Rift will be screening on December 14 & 15, 2018 in a show from Synthetic Zero Art/Performance Event Opening @ BronxArtSpace. The event will also include virtual reality, a living art installation, experimental video, video installations, and visual art. The show is free to the public, but voluntary donations will be accepted for the performances:
WHERE BronxArtSpace 305 E 140th St #1A Bronx NY 10454
WHEN
Gallery openings 6pm-10pm, Friday and Saturday, December 14th and 15th. Performances begin at 7:30pm. Installations and visual art will run until December 22nd.
DIRECTIONS
Take the 4/5 express to 125th St, then 1 stop on the 6 to 138th St/3rd Ave. The art space is two blocks from the station.
Going Somewhere (Episode I) is in Here Comes Everybody, Episode 26-1, July, 2018 monthly Experimental cable access show broadcast in Los Angeles and Berkeley, CA; Portland, Olympia, and Seattle, WA; Waukegan, IL; North Liberty, IA; Ithaca, NY https://www.youtube.com/watch?v=D5e54Lp9kvU
Reading is a particular engagement with letterforms guided by the audiences familiarity with written and textual languages, a distinct and parallel mode of engagement from their visual perceptions: an encounter that resolves the visuality::legibility dynamic into a natural hierarchy where legibility always dominates. In contradistinction to how motion graphics overlap with some of the concerns established in graphic designs use of typography, their superficial relationship to established methodology does not alter the essential difference that movement and development-over-time makes for lexical recognition. Motion typography allows a delay in this assertion of order without undermining or challenging it by presenting the process of lexical recognition as the emergence of legibility: the separation between the recognition of language, and the ability to identify and read the contents presented. This procedural demonstration expands the autonomous and internalized activity of recognitioninterpretation into the emergence of letterforms, allowing the transition from illegible to legible to become an expressive subject. This excess arises in the three modes kinetic, graphic, and chronic that define this semiotic process immanent in/as the making sense of letterforms in motion. The distinct engagements with non-lexical dimensions of typography and design these modes provide have their foundations in static typography and the printed page, but exceed them because the addition of motion is transformative, allowing the presentation of interpretive processes through animated motion.
