Dana Moser
Country
USA, Boston
Funding organization
Massachusetts College of Art and Design
Website
curiousart.org
Year
2019
Updates
#Workshop – Playing with network interactions – by Dana Moser [6.06]
#Workshop – Interacting with network technologies for artists – by Dana Moser [13.06]
Dana Moser is a musician, teacher, curator and film/video/installation artist. He was a pioneer in experimental telecommunications art in the early 1980’s.
His work has been screened and exhibited in numerous locations in the US and Europe including Boston, Chicago, San Francisco, NYC, Paris, Venice, Munich and London. Currently, he is a professor in the Studio for Interrelated Media at the Massachusetts College of Art and Design where he is responsible for developing programs in digital, generative and networked art forms.
In one of the first artistic experimental uses of satellite technology, Dana Moser and Rachel Weiss created “Whorled in the Balance: the Perils of Pandora.”
It was a collaboration with the French sculptor, Piotr Kowalski, who worked with a young programmer named Matt Belge to create “The Time Machine”, a device which did real-time video temporal manipulation. To realize the project a production company was formed (“Kitchen Sync”, which included Belge, John Waite and Mark Lapore.) -Because of the hostility of US corporate broadcast facilities, the project was moved to Canada, where the finished broadcast/performance took place simultaneously at the National Museum of Science and Technology in Ottawa and the Centre George Pompidou in Paris.
TRACKING
“Tracking” is a collaborative video installation by DM, Denise Marika and Dana Moser and was largely influenced by the city of Berlin where much of the sound and video imagery was recorded. Like all modern cities, it’s meridians of public transportation are awash in signifiers of control and protection. But there are many things that make Berlin a special place and one of them is its preoccupation with history. In some ways it has been a requirement of the rest of the world that Berlin never forget it’s role in 20th century conflagration, but even in the preceding century it was viewed in a special historical light as Marxists assumed that Berlin (not Moscow) was going to be the central starting point of an international worker’s revolution. The city commemorates (memorializes) its history fanatically, with markers on streets, stations and canals; monuments against the ephemerality of human memory. The specifics of Berlin were a starting point for our collaboration and discussions on site in the Summer of 2009, but every urban setting shares in the same themes that emerged from our observations of the politics of people moving through space, a human traffic pushing through the emergent apparatus of location, observation and control. “Tracking” reflects on the international condition at the borders separating people from places and events, the threshold where layers of impediments and barriers multiply. The projection in “Tracking” is constructed through the algorithmic interactions of a dynamic system. Sound and HD video are programmed to mix (edit) together in realtime according to software-defined interactions.
Production assistance by Tom Fahey and Fred Wolflink.”Tracking” is being exhibited as part of “RIDERS on the TRAIN” curated by Nancy Davies.
TOURISM
