no one…in conversation
Artist: Reva Stone
Work ID: 78933
Description: no one.. ..in conversation
Collaboration between Reva Stone and Richard Dyck
Excerpts from statement: 1994
They corresponded through found objects to create the graphic, audio, and programming elements of No One... ...in Conversation.....This correspondence lasted abut eight months. Reva sent Rick the first object, a beautiful 1957 family photograph, and got the "conversation" going. From the photo he approached and created his first Amiga element. Then he sent Reva an object, a 1957 penny (he never sent her what he created, neither did she ever send him what she created). Using the penny, she approached and created her first Mac element. What she created she kept private from him and vice versa. This privacy assured them independence. The exchange of objects itself provided a vital spine for the project: they weren't random objects, but "words" to their conversation. To try to decipher what they were talking about with these objects, Rick kept a list, attempting with it something like dream analysis.
Collection:
Date de réalisation : 1994
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Oeuvre d'art par Reva Stone
Shift
Artist: Reva Stone
ID : 78856
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Des mesures :
Collection:
Date de réalisation : 1965
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Reality Control, installation view
Artist: Reva Stone
ID : 78785
Description:
Des mesures :
Collection:
Date de réalisation : 1984
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Reality Control 3
Artist: Reva Stone
ID : 78788
Description:
Des mesures :
Collection:
Date de réalisation : 1984
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Reality Control 4
Artist: Reva Stone
ID : 78789
Description:
Des mesures :
Collection:
Date de réalisation : 1984
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Reality Control 2
Artist: Reva Stone
ID : 78787
Description:
Des mesures :
Collection:
Date de réalisation : 1984
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Reality Control 1
Artist: Reva Stone
ID : 78786
Description:
Des mesures :
Collection:
Date de réalisation : 1984
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Birthday
Artist: Reva Stone
ID : 78797
Description:
Des mesures :
Collection:
Date de réalisation : 1985
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Visit
Artist: Reva Stone
ID : 78809
Description:
Des mesures :
Collection:
Date de réalisation : 1985
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Recital
Artist: Reva Stone
ID : 78807
Description:
Des mesures :
Collection:
Date de réalisation : 1985
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Family
Artist: Reva Stone
ID : 78803
Description:
Des mesures :
Collection:
Date de réalisation : 1985
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Towels
Artist: Reva Stone
ID : 78808
Description:
Des mesures :
Collection:
Date de réalisation : 1985
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Dinner
Artist: Reva Stone
ID : 78800
Description:
Des mesures :
Collection:
Date de réalisation : 1985
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Cottage
Artist: Reva Stone
ID : 78799
Description:
Des mesures :
Collection:
Date de réalisation : 1985
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Gathering
Artist: Reva Stone
ID : 78804
Description:
Des mesures :
Collection:
Date de réalisation : 1985
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Children
Artist: Reva Stone
ID : 78798
Description:
Des mesures :
Collection:
Date de réalisation : 1985
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Walk
Artist: Reva Stone
ID : 78810
Description:
Des mesures :
Collection:
Date de réalisation : 1985
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Mother
Artist: Reva Stone
ID : 78806
Description:
Des mesures :
Collection:
Date de réalisation : 1985
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Innocence
Artist: Reva Stone
ID : 78805
Description:
Des mesures :
Collection:
Date de réalisation : 1985
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
![a lot like you [Window Display]](https://ccca.art/wp-content/uploads/2024/04/stone115.jpg)
a lot like you [Window Display]
Artist: Reva Stone
ID : 78812
Description:
Des mesures :
Collection:
Date de réalisation : 1986
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
![a lot like you [Window Display, detail]](https://ccca.art/wp-content/uploads/2024/04/stone117.jpg)
a lot like you [Window Display, detail]
Artist: Reva Stone
ID : 78813
Description:
Des mesures :
Collection:
Date de réalisation : 1986
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
![a lot like you [Window Display, detail]](https://ccca.art/wp-content/uploads/2024/04/stone116.jpg)
a lot like you [Window Display, detail]
Artist: Reva Stone
ID : 78814
Description:
Des mesures :
Collection:
Date de réalisation : 1986
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
![Window Blind, [a lot like you Series]](https://ccca.art/wp-content/uploads/2024/04/stone118.jpg)
Window Blind, [a lot like you Series]
Artist: Reva Stone
ID : 78815
Description: Calgary Mentoring.
Des mesures :
Collection:
Date de réalisation : 1986
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
![Chair, [a lot like you Series]](https://ccca.art/wp-content/uploads/2024/04/stone018.jpg)
Chair, [a lot like you Series]
Artist: Reva Stone
ID : 78811
Description:
Des mesures :
Collection:
Date de réalisation : 1986
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Constructed Images: Document
Artist: Reva Stone
ID : 78820
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Constructed Images: Represent
Artist: Reva Stone
ID : 78826
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Constructed Images: Reproduce
Artist: Reva Stone
ID : 78828
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Constructed Images: Model
Artist: Reva Stone
ID : 78824
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Constructed Images: Document, detail
Artist: Reva Stone
ID : 78822
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Constructed Images: installation view
Artist: Reva Stone
ID : 78816
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : mixed media sculpture installation
Collection virtuelle : Original CCCA
Constructed Images: Model, detail
Artist: Reva Stone
ID : 78825
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Constructed Images: Copy
Artist: Reva Stone
ID : 78818
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Constructed Images: Document, detail
Artist: Reva Stone
ID : 78821
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Constructed Images: Copy, detail
Artist: Reva Stone
ID : 78819
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Constructed Images: Duplicate
Artist: Reva Stone
ID : 78823
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Constructed Images: Stage
Artist: Reva Stone
ID : 78829
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Constructed Images: installation view
Artist: Reva Stone
ID : 78817
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : mixed media sculpture installation
Collection virtuelle : Original CCCA
Constructed Images: Represent, detail
Artist: Reva Stone
ID : 78827
Description:
Des mesures :
Collection:
Date de réalisation : 1987
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Generation, video still
Artist: Reva Stone
ID : 78841
Description:
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : stand-alone video
Collection virtuelle : Original CCCA
Generation, video still
Artist: Reva Stone
ID : 78832
Description:
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : stand-alone video
Collection virtuelle : Original CCCA
Generation, video still
Artist: Reva Stone
ID : 78838
Description:
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : stand-alone video
Collection virtuelle : Original CCCA
Generation, video still
Artist: Reva Stone
ID : 78831
Description:
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : stand-alone video
Collection virtuelle : Original CCCA
Generation, video still
Artist: Reva Stone
ID : 78843
Description:
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : stand-alone video
Collection virtuelle : Original CCCA
Generation, video still
Artist: Reva Stone
ID : 78836
Description:
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : stand-alone video
Collection virtuelle : Original CCCA
Generation, video still
Artist: Reva Stone
ID : 78840
Description:
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : stand-alone video
Collection virtuelle : Original CCCA
Generation, video still
Artist: Reva Stone
ID : 78830
Description:
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : stand-alone video
Collection virtuelle : Original CCCA
Generation, video still
Artist: Reva Stone
ID : 78835
Description:
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : stand-alone video
Collection virtuelle : Original CCCA
Generation, video still
Artist: Reva Stone
ID : 78833
Description:
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : stand-alone video
Collection virtuelle : Original CCCA
Generation, video still
Artist: Reva Stone
ID : 78839
Description:
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : stand-alone video
Collection virtuelle : Original CCCA
Generation, video still
Artist: Reva Stone
ID : 78842
Description:
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : stand-alone video
Collection virtuelle : Original CCCA
Generation, video still
Artist: Reva Stone
ID : 78837
Description:
Des mesures :
Collection:
Date de réalisation : 1988
Matériaux : stand-alone video
Collection virtuelle : Original CCCA
Realm of Illusion Trailer
Artist: Reva Stone
ID : 78791
Description:
Des mesures :
Collection:
Date de réalisation : 1990
Matériaux : commissioned model
Collection virtuelle : Original CCCA
Realm of Illusion Trailer
Artist: Reva Stone
ID : 78790
Description:
Des mesures :
Collection:
Date de réalisation : 1990
Matériaux : commissioned model
Collection virtuelle : Original CCCA
Legacy, installation view
Artist: Reva Stone
ID : 78779
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Des mesures :
Collection:
Date de réalisation : 1990-1992
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Legacy, Wall 3 (War Map)
Artist: Reva Stone
ID : 78783
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Des mesures :
Collection:
Date de réalisation : 1990-1992
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Legacy, video still
Artist: Reva Stone
ID : 78780
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Des mesures :
Collection:
Date de réalisation : 1990-1992
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Legacy, Wall 4 (TV)
Artist: Reva Stone
ID : 78784
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Des mesures :
Collection:
Date de réalisation : 1990-1992
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Legacy, Wall 1 (Head)
Artist: Reva Stone
ID : 78781
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Des mesures :
Collection:
Date de réalisation : 1990-1992
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Legacy, floor detail
Artist: Reva Stone
ID : 78777
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Des mesures :
Collection:
Date de réalisation : 1990-1992
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Legacy, Bed
Artist: Reva Stone
ID : 78776
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Des mesures :
Collection:
Date de réalisation : 1990-1992
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Legacy, installation view
Artist: Reva Stone
ID : 78778
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Des mesures :
Collection:
Date de réalisation : 1990-1992
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Legacy, Wall 2 (Family Portrait)
Artist: Reva Stone
ID : 78782
Description: Legacy
Excerpts from 1990 artist statement:
“I am fascinated by the ways in which art making is able to simulate a reality that can be manipulated to explore underlying cultural assumptions. I have been particularly interested in investigating how cultural codes are mediated through electronic technology and manifest themselves in our attitudes and behaviour. Have we become a culture whose information and ideas are given forms solely by electronic images? Have we created a new form of representation that irreversibly impacts upon our definitions of reality and identity?
Since a home is the primary location in which this information impacts upon us, I constructed the installation as a home setting and altered the physical objects normally associated with this environment. In this space, images and sounds repeat and overlap creating a visual and electronic bombardment that mirrors the insidious bombardment of our current technological value system."
Des mesures :
Collection:
Date de réalisation : 1990-1992
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Threshold
Artist: Reva Stone
ID : 78844
Description:
Des mesures :
Collection:
Date de réalisation : 1992
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Threshold, detail
Artist: Reva Stone
ID : 78845
Description:
Des mesures :
Collection:
Date de réalisation : 1992
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
no one…in conversation
Artist: Reva Stone
ID : 78938
Description: no one.. ..in conversation
Collaboration between Reva Stone and Richard Dyck
Excerpts from statement: 1994
They corresponded through found objects to create the graphic, audio, and programming elements of No One... ...in Conversation.....This correspondence lasted abut eight months. Reva sent Rick the first object, a beautiful 1957 family photograph, and got the "conversation" going. From the photo he approached and created his first Amiga element. Then he sent Reva an object, a 1957 penny (he never sent her what he created, neither did she ever send him what she created). Using the penny, she approached and created her first Mac element. What she created she kept private from him and vice versa. This privacy assured them independence. The exchange of objects itself provided a vital spine for the project: they weren't random objects, but "words" to their conversation. To try to decipher what they were talking about with these objects, Rick kept a list, attempting with it something like dream analysis.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux : digital media installation
Collection virtuelle : Original CCCA
no one…in conversation
Artist: Reva Stone
ID : 78932
Description: no one.. ..in conversation
Collaboration between Reva Stone and Richard Dyck
Excerpts from statement: 1994
They corresponded through found objects to create the graphic, audio, and programming elements of No One... ...in Conversation.....This correspondence lasted abut eight months. Reva sent Rick the first object, a beautiful 1957 family photograph, and got the "conversation" going. From the photo he approached and created his first Amiga element. Then he sent Reva an object, a 1957 penny (he never sent her what he created, neither did she ever send him what she created). Using the penny, she approached and created her first Mac element. What she created she kept private from him and vice versa. This privacy assured them independence. The exchange of objects itself provided a vital spine for the project: they weren't random objects, but "words" to their conversation. To try to decipher what they were talking about with these objects, Rick kept a list, attempting with it something like dream analysis.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux : digital media installation
Collection virtuelle : Original CCCA
no one…in conversation
Artist: Reva Stone
ID : 78935
Description: no one.. ..in conversation
Collaboration between Reva Stone and Richard Dyck
Excerpts from statement: 1994
They corresponded through found objects to create the graphic, audio, and programming elements of No One... ...in Conversation.....This correspondence lasted abut eight months. Reva sent Rick the first object, a beautiful 1957 family photograph, and got the "conversation" going. From the photo he approached and created his first Amiga element. Then he sent Reva an object, a 1957 penny (he never sent her what he created, neither did she ever send him what she created). Using the penny, she approached and created her first Mac element. What she created she kept private from him and vice versa. This privacy assured them independence. The exchange of objects itself provided a vital spine for the project: they weren't random objects, but "words" to their conversation. To try to decipher what they were talking about with these objects, Rick kept a list, attempting with it something like dream analysis.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux : digital media installation
Collection virtuelle : Original CCCA
no one…in conversation
Artist: Reva Stone
ID : 78936
Description: no one.. ..in conversation
Collaboration between Reva Stone and Richard Dyck
Excerpts from statement: 1994
They corresponded through found objects to create the graphic, audio, and programming elements of No One... ...in Conversation.....This correspondence lasted abut eight months. Reva sent Rick the first object, a beautiful 1957 family photograph, and got the "conversation" going. From the photo he approached and created his first Amiga element. Then he sent Reva an object, a 1957 penny (he never sent her what he created, neither did she ever send him what she created). Using the penny, she approached and created her first Mac element. What she created she kept private from him and vice versa. This privacy assured them independence. The exchange of objects itself provided a vital spine for the project: they weren't random objects, but "words" to their conversation. To try to decipher what they were talking about with these objects, Rick kept a list, attempting with it something like dream analysis.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux : digital media installation
Collection virtuelle : Original CCCA
no one…in conversation
Artist: Reva Stone
ID : 78937
Description: no one.. ..in conversation
Collaboration between Reva Stone and Richard Dyck
Excerpts from statement: 1994
They corresponded through found objects to create the graphic, audio, and programming elements of No One... ...in Conversation.....This correspondence lasted abut eight months. Reva sent Rick the first object, a beautiful 1957 family photograph, and got the "conversation" going. From the photo he approached and created his first Amiga element. Then he sent Reva an object, a 1957 penny (he never sent her what he created, neither did she ever send him what she created). Using the penny, she approached and created her first Mac element. What she created she kept private from him and vice versa. This privacy assured them independence. The exchange of objects itself provided a vital spine for the project: they weren't random objects, but "words" to their conversation. To try to decipher what they were talking about with these objects, Rick kept a list, attempting with it something like dream analysis.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux : digital media installation
Collection virtuelle : Original CCCA
no one…in conversation
Artist: Reva Stone
ID : 78933
Description: no one.. ..in conversation
Collaboration between Reva Stone and Richard Dyck
Excerpts from statement: 1994
They corresponded through found objects to create the graphic, audio, and programming elements of No One... ...in Conversation.....This correspondence lasted abut eight months. Reva sent Rick the first object, a beautiful 1957 family photograph, and got the "conversation" going. From the photo he approached and created his first Amiga element. Then he sent Reva an object, a 1957 penny (he never sent her what he created, neither did she ever send him what she created). Using the penny, she approached and created her first Mac element. What she created she kept private from him and vice versa. This privacy assured them independence. The exchange of objects itself provided a vital spine for the project: they weren't random objects, but "words" to their conversation. To try to decipher what they were talking about with these objects, Rick kept a list, attempting with it something like dream analysis.
Des mesures :
Collection:
Date de réalisation : 1994
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Shift
Artist: Reva Stone
ID : 78860
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Des mesures :
Collection:
Date de réalisation : 1995
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Shift
Artist: Reva Stone
ID : 78859
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Des mesures :
Collection:
Date de réalisation : 1995
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Shift
Artist: Reva Stone
ID : 78861
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Des mesures :
Collection:
Date de réalisation : 1995
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Shift
Artist: Reva Stone
ID : 78858
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Des mesures :
Collection:
Date de réalisation : 1995
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Shift
Artist: Reva Stone
ID : 78857
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Des mesures :
Collection:
Date de réalisation : 1995
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Shift
Artist: Reva Stone
ID : 78855
Description: Shift
Shift was a collaborative project that involved Tom Stroud, choreographer and artistic director of the Winnipeg Contemporary Dancers; the Winnipeg Art Gallery; Glenn Buhr, composer in residence of the Winnipeg Symphony; Margaret Sweatman, writer; and Hugh Connacher, lighting designer and was shown at the Winnipeg Art Gallery in November 1995. Through the use of sound, light, video projections and three constructed spaces, an experience was created that emulated the movement of visitors/bodies through a gallery. The opportunity to work in combination with actual bodies provided an opportunity to reaffirm the materiality and the somatic experience of our bodies through lived experience.
Des mesures :
Collection:
Date de réalisation : 1995
Matériaux : techniques mixtes
Collection virtuelle : Original CCCA
Interstitial Spaces
Artist: Reva Stone
ID : 78846
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Des mesures :
Collection:
Date de réalisation : 1995-96
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Interstitial Spaces
Artist: Reva Stone
ID : 78854
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Des mesures :
Collection:
Date de réalisation : 1995-96
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Interstitial Spaces
Artist: Reva Stone
ID : 78850
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Des mesures :
Collection:
Date de réalisation : 1995-96
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Interstitial Spaces
Artist: Reva Stone
ID : 78848
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Des mesures :
Collection:
Date de réalisation : 1995-96
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Interstitial Spaces
Artist: Reva Stone
ID : 78852
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Des mesures :
Collection:
Date de réalisation : 1995-96
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Interstitial Spaces
Artist: Reva Stone
ID : 78853
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Des mesures :
Collection:
Date de réalisation : 1995-96
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Interstitial Spaces
Artist: Reva Stone
ID : 78849
Description: Interstitial Spaces
In this work, my intent was to evoke our unacknowledged complicity in the shifts in the stability of our own increasingly technologized bodies. For each exhibition venue, I responded to the specific sites by altering the space of the gallery and the components of the installation.
In the installation at the Dunlop Gallery in Regina, Saskatchewan, the common window wall between the adjoining library and the gallery acted as a metaphoric membrane that sat between the gallery/body and the external world. Through the window of the gallery, intimate enlargements of body/skin slowly dissolved from one image to another. These images were projected onto two layers of theatrical scrim progressing back to the far wall of the gallery. Some images implied or evoked fusion between the body and a computer, others skin/animal pelts. Still others read as internal body parts. A video camera pointed out into the space of the library was triggered by anyone approaching the window. Their image was picked up by the camera and merged into the body projections. Entering the space of the gallery triggered an audiotape.
Embedded into the projected image on the back wall was the following text:
Already have I once been a boy and a girl,
and a bush and a bird,
and a silent fish in the sea.
Empedocles (circa 440 BCE)
Des mesures :
Collection:
Date de réalisation : 1995-96
Matériaux : digital media installation
Collection virtuelle : Original CCCA
skin notwithstanding, camera
Artist: Reva Stone
ID : 78931
Description: In collaboration with Richard Dyck
Des mesures :
Collection:
Date de réalisation : 1997
Matériaux : digital media installation
Collection virtuelle : Original CCCA
skin notwithstanding, computers
Artist: Reva Stone
ID : 78927
Description: In collaboration with Richard Dyck
Des mesures :
Collection:
Date de réalisation : 1997
Matériaux : digital media installation
Collection virtuelle : Original CCCA
skin notwithstanding, light on
Artist: Reva Stone
ID : 78928
Description: In collaboration with Richard Dyck
Des mesures :
Collection:
Date de réalisation : 1997
Matériaux : digital media installation
Collection virtuelle : Original CCCA
skin notwithstanding, basin
Artist: Reva Stone
ID : 78930
Description: In collaboration with Richard Dyck
Des mesures :
Collection:
Date de réalisation : 1997
Matériaux : digital media installation
Collection virtuelle : Original CCCA
skin notwithstanding, computers
Artist: Reva Stone
ID : 78926
Description: In collaboration with Richard Dyck
Des mesures :
Collection:
Date de réalisation : 1997
Matériaux : digital media installation
Collection virtuelle : Original CCCA
verdicalBody
Artist: Reva Stone
ID : 78921
Description: veridicalBody
In veridicalBody (1998), I continue to investigate the medical changes are altering our conceptions of life and death. The underlying promise of medical technologies is immortality. Yet we live within vulnerable bodies - bodies that deal daily with trauma, disease, decay and death. What is a factual or truthful body given medical and other technological interventions? Has there every really been a factual body? Hasn't the response to our own bodies always been socially contructed?
On a side wall, a clinical stainless steel device hangs above a stainless steel shelf. When the viewer places a hand on the shelf, an intimate enlargement of their moving hand is projected into the bottom left corner of the panoramic image. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The projected images of viewers' hands are simultaneously recorded onto videotape. This videotape of hands emerging and fading is projected by a third video projector into the right hand corner of the panorama to create a history of the experience of the installation/body.
A slowly moving panorama, responsive to the movement of the viewer in the exhibition space, is projected to fill the far wall of the gallery space. As the viewer moves left, the image moves to the left and continue to move until the viewer changes location. Moving to the right moves the image to right; moving forward gradually zooms the image into pixilated close up; moving backward zooms the image out. The viewer's actions are controlling a continuous landscape of aging, post-surgical bodies.
Des mesures :
Collection:
Date de réalisation : 1998
Matériaux : digital media installation
Collection virtuelle : Original CCCA
verdicalBody
Artist: Reva Stone
ID : 78922
Description: veridicalBody
In veridicalBody (1998), I continue to investigate the medical changes are altering our conceptions of life and death. The underlying promise of medical technologies is immortality. Yet we live within vulnerable bodies - bodies that deal daily with trauma, disease, decay and death. What is a factual or truthful body given medical and other technological interventions? Has there every really been a factual body? Hasn't the response to our own bodies always been socially contructed?
On a side wall, a clinical stainless steel device hangs above a stainless steel shelf. When the viewer places a hand on the shelf, an intimate enlargement of their moving hand is projected into the bottom left corner of the panoramic image. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The projected images of viewers' hands are simultaneously recorded onto videotape. This videotape of hands emerging and fading is projected by a third video projector into the right hand corner of the panorama to create a history of the experience of the installation/body.
A slowly moving panorama, responsive to the movement of the viewer in the exhibition space, is projected to fill the far wall of the gallery space. As the viewer moves left, the image moves to the left and continue to move until the viewer changes location. Moving to the right moves the image to right; moving forward gradually zooms the image into pixilated close up; moving backward zooms the image out. The viewer's actions are controlling a continuous landscape of aging, post-surgical bodies.
Des mesures :
Collection:
Date de réalisation : 1998
Matériaux : digital media installation
Collection virtuelle : Original CCCA
verdicalBody
Artist: Reva Stone
ID : 78925
Description: veridicalBody
In veridicalBody (1998), I continue to investigate the medical changes are altering our conceptions of life and death. The underlying promise of medical technologies is immortality. Yet we live within vulnerable bodies - bodies that deal daily with trauma, disease, decay and death. What is a factual or truthful body given medical and other technological interventions? Has there every really been a factual body? Hasn't the response to our own bodies always been socially contructed?
On a side wall, a clinical stainless steel device hangs above a stainless steel shelf. When the viewer places a hand on the shelf, an intimate enlargement of their moving hand is projected into the bottom left corner of the panoramic image. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The projected images of viewers' hands are simultaneously recorded onto videotape. This videotape of hands emerging and fading is projected by a third video projector into the right hand corner of the panorama to create a history of the experience of the installation/body.
A slowly moving panorama, responsive to the movement of the viewer in the exhibition space, is projected to fill the far wall of the gallery space. As the viewer moves left, the image moves to the left and continue to move until the viewer changes location. Moving to the right moves the image to right; moving forward gradually zooms the image into pixilated close up; moving backward zooms the image out. The viewer's actions are controlling a continuous landscape of aging, post-surgical bodies.
Des mesures :
Collection:
Date de réalisation : 1998
Matériaux : digital media installation
Collection virtuelle : Original CCCA
The Multiple and Mutable Subject
Artist: Reva Stone
ID : 78867
Description: The Multiple and Mutable Subject
Symposium 1999, curated by Vera Lemecha and Reva Stone
Anthology published by St. Norbert Arts Centre, co-edited by Reva Stone and Vera Lemecha, 2001.
ISBN 1-896699-15-4
http://www.snacc.mb.ca
Des mesures :
Collection:
Date de réalisation : 1998
Matériaux : conference anthology
Collection virtuelle : Original CCCA
sentientBody
Artist: Reva Stone
ID : 78862
Description: sentientBody
In sentientBody, my intent is to explore the shifts in the stability of our own increasingly technologized bodies by pointing to the body as a transformative site constantly in the process of becoming.
On one wall of the gallery, a large video projection contains imagery in which the motion of waves dragging over sand or over our bodies becomes indistinguishable to suggest bodily mutability over time.
In the middle of the gallery, a stainless steel container is filled with slowly circulating water. When the viewer walks toward the container, an image of their moving body is projected downward into the water. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The water also decays over time.
Emerging from the stainless steel container is the sound of a pump and motor calibrated to pump the water at the same rate as we breathe. The 'breathing' water moving through the stainless steel container suggests internal liquids moving through the body, the fluids from which we’ve developed, as well as a technological life support system.
Credits
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Des mesures :
Collection:
Date de réalisation : 1998
Matériaux : digital media installation
Collection virtuelle : Original CCCA
sentientBody
Artist: Reva Stone
ID : 78863
Description: sentientBody
In sentientBody, my intent is to explore the shifts in the stability of our own increasingly technologized bodies by pointing to the body as a transformative site constantly in the process of becoming.
On one wall of the gallery, a large video projection contains imagery in which the motion of waves dragging over sand or over our bodies becomes indistinguishable to suggest bodily mutability over time.
In the middle of the gallery, a stainless steel container is filled with slowly circulating water. When the viewer walks toward the container, an image of their moving body is projected downward into the water. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The water also decays over time.
Emerging from the stainless steel container is the sound of a pump and motor calibrated to pump the water at the same rate as we breathe. The 'breathing' water moving through the stainless steel container suggests internal liquids moving through the body, the fluids from which we’ve developed, as well as a technological life support system.
Credits
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Des mesures :
Collection:
Date de réalisation : 1998
Matériaux : digital media installation
Collection virtuelle : Original CCCA
sentientBody
Artist: Reva Stone
ID : 78864
Description: sentientBody
In sentientBody, my intent is to explore the shifts in the stability of our own increasingly technologized bodies by pointing to the body as a transformative site constantly in the process of becoming.
On one wall of the gallery, a large video projection contains imagery in which the motion of waves dragging over sand or over our bodies becomes indistinguishable to suggest bodily mutability over time.
In the middle of the gallery, a stainless steel container is filled with slowly circulating water. When the viewer walks toward the container, an image of their moving body is projected downward into the water. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The water also decays over time.
Emerging from the stainless steel container is the sound of a pump and motor calibrated to pump the water at the same rate as we breathe. The 'breathing' water moving through the stainless steel container suggests internal liquids moving through the body, the fluids from which we’ve developed, as well as a technological life support system.
Credits
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Des mesures :
Collection:
Date de réalisation : 1998
Matériaux : digital media installation
Collection virtuelle : Original CCCA
sentientBody
Artist: Reva Stone
ID : 78865
Description: sentientBody
In sentientBody, my intent is to explore the shifts in the stability of our own increasingly technologized bodies by pointing to the body as a transformative site constantly in the process of becoming.
On one wall of the gallery, a large video projection contains imagery in which the motion of waves dragging over sand or over our bodies becomes indistinguishable to suggest bodily mutability over time.
In the middle of the gallery, a stainless steel container is filled with slowly circulating water. When the viewer walks toward the container, an image of their moving body is projected downward into the water. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The water also decays over time.
Emerging from the stainless steel container is the sound of a pump and motor calibrated to pump the water at the same rate as we breathe. The 'breathing' water moving through the stainless steel container suggests internal liquids moving through the body, the fluids from which we’ve developed, as well as a technological life support system.
Credits
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Des mesures :
Collection:
Date de réalisation : 1998
Matériaux : digital media installation
Collection virtuelle : Original CCCA
The Multiple and Mutable Subject
Artist: Reva Stone
ID : 78866
Description: The Multiple and Mutable Subject
Symposium 1999, curated by Vera Lemecha and Reva Stone
Anthology published by St. Norbert Arts Centre, co-edited by Reva Stone and Vera Lemecha, 2001.
ISBN 1-896699-15-4
http://www.snacc.mb.ca
Des mesures :
Collection:
Date de réalisation : 1998
Matériaux : conference anthology
Collection virtuelle : Original CCCA
verdicalBody
Artist: Reva Stone
ID : 78924
Description: veridicalBody
In veridicalBody (1998), I continue to investigate the medical changes are altering our conceptions of life and death. The underlying promise of medical technologies is immortality. Yet we live within vulnerable bodies - bodies that deal daily with trauma, disease, decay and death. What is a factual or truthful body given medical and other technological interventions? Has there every really been a factual body? Hasn't the response to our own bodies always been socially contructed?
On a side wall, a clinical stainless steel device hangs above a stainless steel shelf. When the viewer places a hand on the shelf, an intimate enlargement of their moving hand is projected into the bottom left corner of the panoramic image. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The projected images of viewers' hands are simultaneously recorded onto videotape. This videotape of hands emerging and fading is projected by a third video projector into the right hand corner of the panorama to create a history of the experience of the installation/body.
A slowly moving panorama, responsive to the movement of the viewer in the exhibition space, is projected to fill the far wall of the gallery space. As the viewer moves left, the image moves to the left and continue to move until the viewer changes location. Moving to the right moves the image to right; moving forward gradually zooms the image into pixilated close up; moving backward zooms the image out. The viewer's actions are controlling a continuous landscape of aging, post-surgical bodies.
Des mesures :
Collection:
Date de réalisation : 1998
Matériaux : digital media installation
Collection virtuelle : Original CCCA
verdicalBody
Artist: Reva Stone
ID : 78923
Description: veridicalBody
In veridicalBody (1998), I continue to investigate the medical changes are altering our conceptions of life and death. The underlying promise of medical technologies is immortality. Yet we live within vulnerable bodies - bodies that deal daily with trauma, disease, decay and death. What is a factual or truthful body given medical and other technological interventions? Has there every really been a factual body? Hasn't the response to our own bodies always been socially contructed?
On a side wall, a clinical stainless steel device hangs above a stainless steel shelf. When the viewer places a hand on the shelf, an intimate enlargement of their moving hand is projected into the bottom left corner of the panoramic image. First projected in real time, the image is then captured and projected several more times. Each time the image is projected it deteriorates and fades until it disappears. The projected images of viewers' hands are simultaneously recorded onto videotape. This videotape of hands emerging and fading is projected by a third video projector into the right hand corner of the panorama to create a history of the experience of the installation/body.
A slowly moving panorama, responsive to the movement of the viewer in the exhibition space, is projected to fill the far wall of the gallery space. As the viewer moves left, the image moves to the left and continue to move until the viewer changes location. Moving to the right moves the image to right; moving forward gradually zooms the image into pixilated close up; moving backward zooms the image out. The viewer's actions are controlling a continuous landscape of aging, post-surgical bodies.
Des mesures :
Collection:
Date de réalisation : 1998
Matériaux : digital media installation
Collection virtuelle : Original CCCA
Carnevale 3.0
Artist: Reva Stone
ID : 78868
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Richard-Max Tremblay (Musée d'art contemporain de Montréal) - Photographer
Des mesures :
Collection:
Date de réalisation : 2000-2002
Matériaux : robotic digital media work
Collection virtuelle : Original CCCA
Carnevale 3.0
Artist: Reva Stone
ID : 78873
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Des mesures :
Collection:
Date de réalisation : 2000-2002
Matériaux : robotic digital media work
Collection virtuelle : Original CCCA
Carnevale 3.0, camera
Artist: Reva Stone
ID : 78876
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Des mesures :
Collection:
Date de réalisation : 2000-2002
Matériaux : robotic digital media work
Collection virtuelle : Original CCCA
Carnevale 3.0
Artist: Reva Stone
ID : 78872
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Des mesures :
Collection:
Date de réalisation : 2000-2002
Matériaux : robotic digital media work
Collection virtuelle : Original CCCA
Carnevale 3.0
Artist: Reva Stone
ID : 78870
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Des mesures :
Collection:
Date de réalisation : 2000-2002
Matériaux : robotic digital media work
Collection virtuelle : Original CCCA
Carnevale 3.0, platform
Artist: Reva Stone
ID : 78875
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Des mesures :
Collection:
Date de réalisation : 2000-2002
Matériaux : robotic digital media work
Collection virtuelle : Original CCCA
Carnevale 3.0
Artist: Reva Stone
ID : 78869
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Kristine Thoreson (The Walter Phillips Gallery, Banff) - Photographer
Des mesures :
Collection:
Date de réalisation : 2000-2002
Matériaux : robotic digital media work
Collection virtuelle : Original CCCA
Carnevale 3.0
Artist: Reva Stone
ID : 78874
Description: Carnevale 3.0
Carnevale 3.0 consists of a life-sized, double aluminum cutout surrogate of the artist as a young girl that moves through the gallery space on a robotic platform. Sandwiched between two identical cutouts are a small video camera and a small video projector. As visitors enter the gallery space, the figure interacts with them by turning and moving toward them. At random intervals, their image and movement is video captured. These images are combined and overlaid with previously stored images and projected outward from its metal body through the small video projector. Carnevale 3.0 carries images from each of its venues to the next, building a database of lived experience in which the captured video images become memories of the original event. As a mediator of experience this robotic entity has the ability to manifest human behavior by generating responsive movements, processing information, and accessing long term or short term memory. Recollection, physicality and sentience become mutable entities.
Credits
Dave Sandeman - Programmer, machinist
Chad Harris - Machinist
Victor Goertzen - Technologist
Ernest Mayer (The Winnipeg Art Gallery) - Photographer
Des mesures :
Collection:
Date de réalisation : 2000-2002
Matériaux : robotic digital media work
Collection virtuelle : Original CCCA
Imaginal Expression 5
Artist: Reva Stone
ID : 78903
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : giclée print
Collection virtuelle : Original CCCA
Imaginal Expression
Artist: Reva Stone
ID : 78884
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : digital media 3D installation
Collection virtuelle : Original CCCA
Imaginal Expression 1
Artist: Reva Stone
ID : 78899
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : giclée print
Collection virtuelle : Original CCCA
Imaginal Expression
Artist: Reva Stone
ID : 78877
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : digital media 3D installation
Collection virtuelle : Original CCCA
Imaginal Expression
Artist: Reva Stone
ID : 78885
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : digital media 3D installation
Collection virtuelle : Original CCCA
Imaginal Expression 3
Artist: Reva Stone
ID : 78901
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : giclée print
Collection virtuelle : Original CCCA
Imaginal Expression 6
Artist: Reva Stone
ID : 78904
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : giclée print
Collection virtuelle : Original CCCA
Imaginal Expression
Artist: Reva Stone
ID : 78882
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : digital media 3D installation
Collection virtuelle : Original CCCA
Imaginal Expression
Artist: Reva Stone
ID : 78880
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : digital media 3D installation
Collection virtuelle : Original CCCA
Imaginal Expression
Artist: Reva Stone
ID : 78883
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : digital media 3D installation
Collection virtuelle : Original CCCA
Imaginal Expression 10
Artist: Reva Stone
ID : 78906
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : giclée print
Collection virtuelle : Original CCCA
Imaginal Expression 7
Artist: Reva Stone
ID : 78905
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : giclée print
Collection virtuelle : Original CCCA
Imaginal Expression 4
Artist: Reva Stone
ID : 78902
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : giclée print
Collection virtuelle : Original CCCA
Imaginal Expression
Artist: Reva Stone
ID : 78881
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : digital media 3D installation
Collection virtuelle : Original CCCA
Imaginal Expression
Artist: Reva Stone
ID : 78879
Description: Imaginal Expression
In Imaginal Expression, I continue to explore issues surrounding technology’s reconfiguration of the human body. The imagery is derived from technological representations of protein molecules that make up the basic units of living cells and direct all biological processes. They are responsible for alterations in the genetic makeup of all organisms. I use these molecular components to provide a visual metaphor through which I can express my questions and concerns about an expanding scientific field that has the potential to change the very nature of what it means to be human.
Credits
David Kelly - 3D Programmer
Ernest Mayer (The Winnipeg Art Gallery) – Photographer
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : digital media 3D installation
Collection virtuelle : Original CCCA
Imaginal Expression 2
Artist: Reva Stone
ID : 78900
Description: Imaginal Expression Print Series
In the early 1990's, I completed an installation that consisted of three-dimensional images of protein molecules. This installation implicated the body in a complex interplay between representations of embodiment and assumptions underlying visualization technology. The molecules were wrapped with scanned imagery that referenced the living body—flesh, hair, blood vessels, bruising, and scarring. Details from the wrapped three-dimensional molecules were then rendered from the custom software program to create the Imaginal Expression Series of 8 giclee prints.
Des mesures :
Collection:
Date de réalisation : 2004-2006
Matériaux : giclée print
Collection virtuelle : Original CCCA
Engram 12, Print Series
Artist: Reva Stone
ID : 78918
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
Le Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Des mesures : 73.66 x 91.44 cm
Collection:
Date de réalisation : 2010-2013
Matériaux : inkjet/giclée
Collection virtuelle : Original CCCA
Engram 6, Print Series
Artist: Reva Stone
ID : 78912
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
Le Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Des mesures : 73.66 x 91.44 cm
Collection:
Date de réalisation : 2010-2013
Matériaux : inkjet/giclée
Collection virtuelle : Original CCCA
Engram 3, Print Series
Artist: Reva Stone
ID : 78909
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
Le Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Des mesures : 73.66 x 91.44 cm
Collection:
Date de réalisation : 2010-2013
Matériaux : inkjet/giclée
Collection virtuelle : Original CCCA
Engram 5, Print Series
Artist: Reva Stone
ID : 78911
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
Le Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Des mesures : 73.66 x 91.44 cm
Collection:
Date de réalisation : 2010-2013
Matériaux : inkjet/giclée
Collection virtuelle : Original CCCA
Engram 2, Print Series
Artist: Reva Stone
ID : 78908
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
Le Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Des mesures : 73.66 x 91.44 cm
Collection:
Date de réalisation : 2010-2013
Matériaux : inkjet/giclée
Collection virtuelle : Original CCCA
Engram 13, Print Series
Artist: Reva Stone
ID : 78919
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
Le Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Des mesures : 73.66 x 91.44 cm
Collection:
Date de réalisation : 2010-2013
Matériaux : inkjet/giclée
Collection virtuelle : Original CCCA
Portal
Artist: Reva Stone
ID : 78890
Description: Portal
Portal is an interactive installation work that uses altered cell phones to investigate how networked devices for human communication are dramatically transforming the intersections between our bodies, our consciousness and our machines. The phones are programmed to perform a series of specific behaviours that give them the appearance of sentience. The use of recorded audio and video, rotating motors, video capture to evolve the content, and the phone's accelerometer for touch response all add to the illusion of consciousness. This work is in its final testing stages.
Credits
Andrew Winton - Circuit Board Design/Electronics
Chad Harris - Mechanical Design Technologist
Felix Jodoin - Symbian, C++ and Ruby Programmer
Des mesures :
Collection:
Date de réalisation : 2010-2013
Matériaux : robotic digital media installation
Collection virtuelle : Original CCCA
Engram 11, Print Series
Artist: Reva Stone
ID : 78917
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
Le Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Des mesures : 73.66 x 91.44 cm
Collection:
Date de réalisation : 2010-2013
Matériaux : inkjet/giclée
Collection virtuelle : Original CCCA
Portal
Artist: Reva Stone
ID : 78889
Description: Portal
Portal is an interactive installation work that uses altered cell phones to investigate how networked devices for human communication are dramatically transforming the intersections between our bodies, our consciousness and our machines. The phones are programmed to perform a series of specific behaviours that give them the appearance of sentience. The use of recorded audio and video, rotating motors, video capture to evolve the content, and the phone's accelerometer for touch response all add to the illusion of consciousness. This work is in its final testing stages.
Credits
Andrew Winton - Circuit Board Design/Electronics
Chad Harris - Mechanical Design Technologist
Felix Jodoin - Symbian, C++ and Ruby Programmer
Des mesures :
Collection:
Date de réalisation : 2010-2013
Matériaux : robotic digital media installation
Collection virtuelle : Original CCCA
Engram 10, Print Series
Artist: Reva Stone
ID : 78916
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
Le Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Des mesures : 73.66 x 91.44 cm
Collection:
Date de réalisation : 2010-2013
Matériaux : inkjet/giclée
Collection virtuelle : Original CCCA
Engram 1, Print Series
Artist: Reva Stone
ID : 78907
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
Le Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Des mesures : 73.66 x 91.44 cm
Collection:
Date de réalisation : 2010-2013
Matériaux : inkjet/giclée
Collection virtuelle : Original CCCA
Portal
Artist: Reva Stone
ID : 78886
Description: Portal
Portal is an interactive installation work that uses altered cell phones to investigate how networked devices for human communication are dramatically transforming the intersections between our bodies, our consciousness and our machines. The phones are programmed to perform a series of specific behaviours that give them the appearance of sentience. The use of recorded audio and video, rotating motors, video capture to evolve the content, and the phone's accelerometer for touch response all add to the illusion of consciousness. This work is in its final testing stages.
Credits
Andrew Winton - Circuit Board Design/Electronics
Chad Harris - Mechanical Design Technologist
Felix Jodoin - Symbian, C++ and Ruby Programmer
Des mesures :
Collection:
Date de réalisation : 2010-2013
Matériaux : robotic digital media installation
Collection virtuelle : Original CCCA
Engram 9, Print Series
Artist: Reva Stone
ID : 78915
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
Le Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Des mesures :
Collection:
Date de réalisation : 2010-2013
Matériaux : inkjet/giclée
Collection virtuelle : Original CCCA
Engram 7, Print Series
Artist: Reva Stone
ID : 78913
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
Le Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Des mesures : 73.66 x 91.44 cm
Collection:
Date de réalisation : 2010-2013
Matériaux : inkjet/giclée
Collection virtuelle : Original CCCA
Portal
Artist: Reva Stone
ID : 78888
Description: Portal
Portal is an interactive installation work that uses altered cell phones to investigate how networked devices for human communication are dramatically transforming the intersections between our bodies, our consciousness and our machines. The phones are programmed to perform a series of specific behaviours that give them the appearance of sentience. The use of recorded audio and video, rotating motors, video capture to evolve the content, and the phone's accelerometer for touch response all add to the illusion of consciousness. This work is in its final testing stages.
Credits
Andrew Winton - Circuit Board Design/Electronics
Chad Harris - Mechanical Design Technologist
Felix Jodoin - Symbian, C++ and Ruby Programmer
Des mesures :
Collection:
Date de réalisation : 2010-2013
Matériaux : robotic digital media installation
Collection virtuelle : Original CCCA
Engram 8, Print Series
Artist: Reva Stone
ID : 78914
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
Le Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Des mesures : 73.66 x 91.44 cm
Collection:
Date de réalisation : 2010-2013
Matériaux : inkjet/giclée
Collection virtuelle : Original CCCA
Portal
Artist: Reva Stone
ID : 78887
Description: Portal
Portal is an interactive installation work that uses altered cell phones to investigate how networked devices for human communication are dramatically transforming the intersections between our bodies, our consciousness and our machines. The phones are programmed to perform a series of specific behaviours that give them the appearance of sentience. The use of recorded audio and video, rotating motors, video capture to evolve the content, and the phone's accelerometer for touch response all add to the illusion of consciousness. This work is in its final testing stages.
Credits
Andrew Winton - Circuit Board Design/Electronics
Chad Harris - Mechanical Design Technologist
Felix Jodoin - Symbian, C++ and Ruby Programmer
Des mesures :
Collection:
Date de réalisation : 2010-2013
Matériaux : robotic digital media installation
Collection virtuelle : Original CCCA
Engram 4, Print Series
Artist: Reva Stone
ID : 78910
Description: Engram Print Series
‘Engram’ is an historical, hypothetical concept coined by memory researcher Richard Semon, as a way to explain the way in which memory traces are stored as biophysical or biochemical changes in the brain.
Each of the images in this series suggests a fleeting moment captured in time. They are iconic fragments of common life experiences intended to remind us of how our identities are constructed from memory and bodily existence.
Le Engram Series is part of a multi-faceted body of work that includes robotic installations such as Carnevale (2002) and Portal (2012). This work investigates the cultural, social, and technological contexts that give rise to consciousness, thought and memory.
Des mesures : 73.66 x 91.44 cm
Collection:
Date de réalisation : 2010-2013
Matériaux : inkjet/giclée
Collection virtuelle : Original CCCA
Carrier Signal
Artist: Reva Stone
ID : 78895
Description: Carrier Signal
Hilary Harp (USA) and Reva Stone (Canada) collaborated to create this work that uses vintage radios to mark the centenary of the birth of John Cage (Sept. 5, 1912) and the 20th anniversary of his death (Aug. 12, 1992). This work takes into account the impending demise of analog radio and its replacement by a digital signal. As a result of this technological change, important compositions of John Cage's work for radio which includes Radio Music (1955) and Imaginary Landscape No. 4 (1951) may soon not be performable at all.
Cage’s works for radio were based on scores developed through chance operations, which designated a series of tunings and volumes for radios. The compositions that resulted included static between stations, silence, and bursts of talk and music. In Cage’s compositions live performers adjusted the knobs on the radio according to Cage’s score. We developed an electro-mechanical system, using programmable stepper motors to tune vintage radios, producing similar compositions. Our system includes the capacity to record the compositions, preserving the sounds of the soon to be obsolete radio signals in a database for our future use.
Credits
Hilary Harp - collaborator and video editor
Des mesures :
Collection:
Date de réalisation : 2012
Matériaux : digital media
Collection virtuelle : Original CCCA
Instructograph
Artist: Reva Stone
ID : 78897
Description: Instructograph
Instructograph was commissioned by Grant Guy for his Adhere and Deny Theatre, in 2011. I was asked to make a small circus object no bigger than a bread box. It has become the first in a series of ambiguous, obsolete objects that I plan to re-purpose.
An HDMI monitor is built into the top of the lid. A glass shelf adds a second layer inside the box. These shelves hold a small Beagleboard computer, an external hard drive, an infrared sensor, the original cranking mechanism, etc. In the video documentation provided, you can see the Linux operating system on the screen. The operating system is installed on an SD card.
When the Instructograph is first plugged in the computer starts up, a light comes on inside the box to reveal the inner workings through a plexi glass window that was cut into the front of the box, and a random display of videos starts to show on the screen. These introductory videos consist of diverse images and the musical work the Entry of the Gladiators that is commonly associated with the circus. These videos continue to play until the crank at the side of the box is turned. At that point, the videos switch to another group of videos that refer to the history of the circus.
Credits
Felix Jodoin - Programmer
Richard Sipinski - Development
Des mesures :
Collection:
Date de réalisation : 2012
Matériaux : digital media, re-purposed object
Collection virtuelle : Original CCCA
Carrier Signal
Artist: Reva Stone
ID : 78894
Description: Carrier Signal
Hilary Harp (USA) and Reva Stone (Canada) collaborated to create this work that uses vintage radios to mark the centenary of the birth of John Cage (Sept. 5, 1912) and the 20th anniversary of his death (Aug. 12, 1992). This work takes into account the impending demise of analog radio and its replacement by a digital signal. As a result of this technological change, important compositions of John Cage's work for radio which includes Radio Music (1955) and Imaginary Landscape No. 4 (1951) may soon not be performable at all.
Cage’s works for radio were based on scores developed through chance operations, which designated a series of tunings and volumes for radios. The compositions that resulted included static between stations, silence, and bursts of talk and music. In Cage’s compositions live performers adjusted the knobs on the radio according to Cage’s score. We developed an electro-mechanical system, using programmable stepper motors to tune vintage radios, producing similar compositions. Our system includes the capacity to record the compositions, preserving the sounds of the soon to be obsolete radio signals in a database for our future use.
Credits
Hilary Harp - collaborator and video editor
Des mesures :
Collection:
Date de réalisation : 2012
Matériaux : digital media
Collection virtuelle : Original CCCA
Carrier Signal
Artist: Reva Stone
ID : 78891
Description: Carrier Signal
Hilary Harp (USA) and Reva Stone (Canada) collaborated to create this work that uses vintage radios to mark the centenary of the birth of John Cage (Sept. 5, 1912) and the 20th anniversary of his death (Aug. 12, 1992). This work takes into account the impending demise of analog radio and its replacement by a digital signal. As a result of this technological change, important compositions of John Cage's work for radio which includes Radio Music (1955) and Imaginary Landscape No. 4 (1951) may soon not be performable at all.
Cage’s works for radio were based on scores developed through chance operations, which designated a series of tunings and volumes for radios. The compositions that resulted included static between stations, silence, and bursts of talk and music. In Cage’s compositions live performers adjusted the knobs on the radio according to Cage’s score. We developed an electro-mechanical system, using programmable stepper motors to tune vintage radios, producing similar compositions. Our system includes the capacity to record the compositions, preserving the sounds of the soon to be obsolete radio signals in a database for our future use.
Credits
Hilary Harp - collaborator and video editor
Des mesures :
Collection:
Date de réalisation : 2012
Matériaux : digital media
Collection virtuelle : Original CCCA
Carrier Signal
Artist: Reva Stone
ID : 78893
Description: Carrier Signal
Hilary Harp (USA) and Reva Stone (Canada) collaborated to create this work that uses vintage radios to mark the centenary of the birth of John Cage (Sept. 5, 1912) and the 20th anniversary of his death (Aug. 12, 1992). This work takes into account the impending demise of analog radio and its replacement by a digital signal. As a result of this technological change, important compositions of John Cage's work for radio which includes Radio Music (1955) and Imaginary Landscape No. 4 (1951) may soon not be performable at all.
Cage’s works for radio were based on scores developed through chance operations, which designated a series of tunings and volumes for radios. The compositions that resulted included static between stations, silence, and bursts of talk and music. In Cage’s compositions live performers adjusted the knobs on the radio according to Cage’s score. We developed an electro-mechanical system, using programmable stepper motors to tune vintage radios, producing similar compositions. Our system includes the capacity to record the compositions, preserving the sounds of the soon to be obsolete radio signals in a database for our future use.
Credits
Hilary Harp - collaborator and video editor
Des mesures :
Collection:
Date de réalisation : 2012
Matériaux : digital media
Collection virtuelle : Original CCCA
Instructograph
Artist: Reva Stone
ID : 78896
Description: Instructograph
Instructograph was commissioned by Grant Guy for his Adhere and Deny Theatre, in 2011. I was asked to make a small circus object no bigger than a bread box. It has become the first in a series of ambiguous, obsolete objects that I plan to re-purpose.
An HDMI monitor is built into the top of the lid. A glass shelf adds a second layer inside the box. These shelves hold a small Beagleboard computer, an external hard drive, an infrared sensor, the original cranking mechanism, etc. In the video documentation provided, you can see the Linux operating system on the screen. The operating system is installed on an SD card.
When the Instructograph is first plugged in the computer starts up, a light comes on inside the box to reveal the inner workings through a plexi glass window that was cut into the front of the box, and a random display of videos starts to show on the screen. These introductory videos consist of diverse images and the musical work the Entry of the Gladiators that is commonly associated with the circus. These videos continue to play until the crank at the side of the box is turned. At that point, the videos switch to another group of videos that refer to the history of the circus.
Credits
Felix Jodoin - Programmer
Richard Sipinski - Development
Des mesures :
Collection:
Date de réalisation : 2012
Matériaux : digital media, re-purposed object
Collection virtuelle : Original CCCA
Carrier Signal
Artist: Reva Stone
ID : 78892
Description: Carrier Signal
Hilary Harp (USA) and Reva Stone (Canada) collaborated to create this work that uses vintage radios to mark the centenary of the birth of John Cage (Sept. 5, 1912) and the 20th anniversary of his death (Aug. 12, 1992). This work takes into account the impending demise of analog radio and its replacement by a digital signal. As a result of this technological change, important compositions of John Cage's work for radio which includes Radio Music (1955) and Imaginary Landscape No. 4 (1951) may soon not be performable at all.
Cage’s works for radio were based on scores developed through chance operations, which designated a series of tunings and volumes for radios. The compositions that resulted included static between stations, silence, and bursts of talk and music. In Cage’s compositions live performers adjusted the knobs on the radio according to Cage’s score. We developed an electro-mechanical system, using programmable stepper motors to tune vintage radios, producing similar compositions. Our system includes the capacity to record the compositions, preserving the sounds of the soon to be obsolete radio signals in a database for our future use.
Credits
Hilary Harp - collaborator and video editor
Des mesures :
Collection:
Date de réalisation : 2012
Matériaux : digital media
Collection virtuelle : Original CCCA
Instructograph
Artist: Reva Stone
ID : 78898
Description: Instructograph
Instructograph was commissioned by Grant Guy for his Adhere and Deny Theatre, in 2011. I was asked to make a small circus object no bigger than a bread box. It has become the first in a series of ambiguous, obsolete objects that I plan to re-purpose.
An HDMI monitor is built into the top of the lid. A glass shelf adds a second layer inside the box. These shelves hold a small Beagleboard computer, an external hard drive, an infrared sensor, the original cranking mechanism, etc. In the video documentation provided, you can see the Linux operating system on the screen. The operating system is installed on an SD card.
When the Instructograph is first plugged in the computer starts up, a light comes on inside the box to reveal the inner workings through a plexi glass window that was cut into the front of the box, and a random display of videos starts to show on the screen. These introductory videos consist of diverse images and the musical work the Entry of the Gladiators that is commonly associated with the circus. These videos continue to play until the crank at the side of the box is turned. At that point, the videos switch to another group of videos that refer to the history of the circus.
Credits
Felix Jodoin - Programmer
Richard Sipinski - Development
Des mesures :
Collection:
Date de réalisation : 2012
Matériaux : digital media, re-purposed object
Collection virtuelle : Original CCCA
