PEDESIS Michael Masaru Flora

Pedesis Exhibition Poster Michael Masaru Flora, 05.01/05.04, Robert Turner Gallery
Pedesis Exhibition Poster Michael Masaru Flora, 05.01/05.04, Robert Turner Gallery

Pedesis i s a dynamic light and sound installation designed i n response to i ts surrounding environment. Utilizing semi-autonomous computer-controlled, multi-channel lighting and sound technologies the luminescent and sonic materials actively shape the exhibition space, and, in turn the exhibition space shapes the luminescent and sonic materials.

In staging the project, the audience become active participants in their own and i n each other’s experience. Moving throughout the space, the participants color, shadow, resonate, reflect, and refract, changing the very environment they are encountering. Ultimately, the work creates a continually renewing sensorial experience that i s the culmination of light, sound, space, and human activity.

Parasomatic Isabella Uliasz

Parasomatic Exhibition Poster, Isabella Uliasz, April 10-13, 2021, Robert C. Turner Gallery
Parasomatic Exhibition Poster, Isabella Uliasz, April 10-13, 2021, Robert C. Turner Gallery

My thesis work examines how the filters that we look through to see the world — a window, a mirror, a computer screen, the human eye— impact our perceptions of the world and of ourselves as viewers and occupants of it. The exhibition features a body of work titled Parasomatic. With a focus on dissolving false dichotomies that narrow the scope of human consciousness, I engage various self-imaging techniques to expand on conceptions of what might be considered part of the body. The show comprises iterative performances which situate the human corporeal form as an infrastructure for navigating complex relationships and theories. In these performances, I use my body to explore the mechanics and phenomena of light, and reflexively account for energetic impact on the body and perception.

Parasomatic is a word I came up with. It is a mode of embodiment which moves the subject beyond the immediacy of the physical, redefining the self as both its living body and its energetic exchanges. Applied to the reflexive self, parasomatism is an abnormalization, reference, expansion, and dissolution of the body as a fixed interiority. It is the body as a locality both inside of and beyond itself. This work does not address fantasies of an altered physical presence in the immediate sense, but reveals physical presence to be tenuous, nervous, and circumstantial. Parasomatism refers to a physical and energetic state which the body occupies in relation to its conditions, describing the body itself as well as the conditions that materialize the body.

IG: @izzyuliasz https://www.instagram.com/izzyuliasz/
Website: https://isabellauliasz.com/

Faculty Collaboration >> the gleaners, and: ritual for signaled bodies

the gleaners, and: ritual for signaled bodies was created in December 2020 by a collaboration between Assistant Professor of Video Art Eric Souther and Associate Professor of Expanded Media Benjamin Rosenthal from the University of Kansas. You can see the trailer of the project below.

the gleaners, and: ritual for signaled bodies single-channel trailer

the gleaners, and: ritual for signaled bodies performs at the edges between body and the external, oscillating and eroding those boundaries. A ritual for creating new worlds and situations for fragmented bodies. Signals pass through the joints of animated and genderless bodies and body parts entangling the body-signal-actions both materially and conceptually as these control mechanisms interfere with pre-animated content. Perpetually shifting surfaces and skins serve as sites of projection and interference, contributing to the further “queering” of the state of these bodies and fragments that are stretched and submerged into and outside of the environment they inhabit, as they encounter desire, distress, and ritualized oscillations. Signals generate both sound and compels movement, the making of the images, and the body further challenges the stability and integrity of the space in its otherworldliness and the spatial relationships it establishes with the audience. At the edge between crisis and satisfaction, the work adopts the role of Millet’s own “gleaners,” making-do on the boundary between sustenance and the devoid.