Above, Anna Lundh presents THE TALE OF THE BIG COMPUTER
Other tales are below:
An unexpected thing was how differently I perceived time – mostly the pace of time, but also the real vs the subjective amount of time that passed. The first five days were equivalent to about two weeks in real life. There was so much new information, new acquaintances and impressions for the brain to process. The second week, time started to move a little bit faster, but still not at "normal" speed. The many scheduled activities (for example the numerous studio visits and evening presentations, as well as reactions to these and/or interpretive dances, plus the option of late night swimming) divided up the days into smaller sections, which contributed to stretching the days out. The third week on the other hand, was moving at the speed of light. Everything was now very familiar and comfortable and the challenge was to focus on being in the present and not see the end approaching too soon (sad emails about staying in touch were already starting to appear one week before it was really over). The last few days were like watching a very fast movement being played back in slow motion, kind of when you see a glass vase fall. Also, I experienced one extremely long day, which in real time lasted from 7.30 in the morning until past midnight, but in subjective time was worth more like a week, due to the intensity and the concentration required in all the moments of that day. So in short, Art Omi had the ability to slow down and speed up time at will. I think this phenomenon could be scientifically proven, and I wonder if this time-warping happens in the same pattern each year. I have to investigate that further.
Anna
HOW ANNA BECAME ANONYMOUS, see below
As of this writing (08/10/10), a question of the Internet privacy has been raised, considered and reconsidered, and eventually conveyed via the notice from the YouTube Team concerning a privacy complaint regarding video content posted below.
The complaining artist Anna Lundh has been videotaped by Camp Camera Crew (CCC) as she gave a public talk about her research in progress at the Art Omi Open Studios. CCC in all its exuberant glory sat in front of the presenting artist and the small but devoted audience of about ten, pointing the Flip toward the body of the artist. No attempts to expel CCC, to crush the Flip, or to brandish recording prohibitive signs have been made. After the fact--or, as we like to say, when the numbers were up--CCC refused to submit their material for alteration by the object of their attentions, obviously!
The artist who trains her researches onto the field of emergence and early development of computer networks in actuality and in fiction (see The Tale of the Big Computer), and then objects to their current distributive state, clearly does not integrate the topic and the execution and dissemination of her work, thus making it purely representational in the sense of "academic"--neither current in the manner of its operation nor potentially experimental. Demoted to paper charts, Information Systems can be framed as art; yet their current deobjectified utility does not provide for containment, only for sharing of the contents. In circulation, publicly presented information becomes common knowledge, even more so if the source remains anonymous. Not so in the art world.
OhMI, no secret about it
