About quickness... I would like to do some kinde of composition of phots, maybe some of them would be moving. Generally the composition would compose with industrial elements.I would start with static (horisontal and vertical directions)images of old ,empty bildings ,and slowly moving elements through more dynamic till very diagonal,soaring modern industrail images.I think also to combine the images with industrial repeated sounds Is it ok?
Tony Oursler born end lives in New York city. He finished propably the most famous art college of the west Coast , the California Institute for the Arts ,witch apparently is very importante for a lot of artists of his generation. This artist has gained international renown with controversial exhibitions staged around the world. He refers to the impact exerted upon him by artist such as Jonathan Borofsky, Judy Pfaff or Laurie anderson. He also mentions the influence of the televiosn, especially MTV, the station where special effects play very importanat role. Tony oursler admit that his family and a catholic background are very important to him and his work. For over ten years his shows have combined sculpture , video and performence. His works rimaind us teatrical performences. He uses video and other multimedial manners to change museums and gallerys into a stage. Tony oursler animates non-living objects with the use of projectors. In his works , a montion picture filmed a video-camera is projected with a projector functioning on a laterna-magica basis as in the 19th centery theatre. His favourite means to express his ideas are dolls objects called Dummies on witch he projectes video films.We can see a gigant eye , a head with some terrible distortions and athers strange forms. He works with very famous actors whose faces and voices he like to use in his vido projects. For exaple in his project "Shock-Rock" we can see the face and hear the voice of the famous german actress living in New York Barbara Sukowa.
Tony oulsler:"The first job of the model is to harmonize the perceptual modes cerresponding to electronic imaging and physical imaging: the video and the sculptural portions of the work. The second job of the model world is to constantly shift scale and location. The video must be freed from the constrains of its perceived size very greatly. To look at the images on the screen is an act of automatic suspension of disbelief, in fact one doesn´t look at the screem at all. To see the screened images is to enter into a hipnotically enhanced psycho-mirroring system. What´s really happing is that one reassembles or decodes visual-sonic language in a subjective, psychosomatic manner. It is well known that in the realm of the mind ,scale is measured in ever distorting units.The mental picture knows no boundaries. That´s were I´m working, trying to make machines that coax the viewer to engage with the transformation. This is the fundation of the Psychomimetiscape."
