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<br />

John Naccarato, Untitled: a.k.a. Marta, The Limits of Control Series. Hybrid Sculptural Object. 2009. Part of The Obscure Objects of Desire and the Rise of the Technological Chimera: Towards Death and the Other Exhibit at ;AXENEO7 and DAIMON,

]]></description>
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  <blip:puredescription><![CDATA[John Naccarato, Holy Cow Television, The Limits of Control Series. Hybrid Sculptural Object. 2010 Part of The Obscure Objects of Desire and the Rise of the Technological Chimera: Towards Death and the Other Exhibit at AXENEO7 and DAIMON, 80 rue Hanson, Gatineau, QC - August 29th to September 4th, 2010]]></blip:puredescription>
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<br />

John Naccarato, Holy Cow Television, The Limits of Control Series. Hybrid Sculptural Object. 2010 Part of The Obscure Objects of Desire and the Rise of the Technological Chimera: Towards Death and the Other Exhibit at AXENEO7 and DAIMON, 80 rue Hanson, Gatineau, QC - August 29th to September 4th, 2010

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  <blip:puredescription><![CDATA[John Naccarato, Presence, The Limits of Control Series. Hybrid Sculptural Object. 2010. Part of The Obscure Objects of Desire and the Rise of the Technological Chimera: Towards Death and the Other Exhibit at AXENEO7 and DAIMON, 80 rue Hanson, Gatineau, QC - August 29th to September 4th, 2010]]></blip:puredescription>
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<iframe src="http://blip.tv/play/0gGB_LFJAg.html?p=1" width="480" height="326" frameborder="0" allowfullscreen></iframe><embed type="application/x-shockwave-flash" src="http://a.blip.tv/api.swf#0gGB_LFJAg" style="display:none"></embed>
<br />

John Naccarato, Presence, The Limits of Control Series. Hybrid Sculptural Object. 2010. Part of The Obscure Objects of Desire and the Rise of the Technological Chimera: Towards Death and the Other Exhibit at AXENEO7 and DAIMON, 80 rue Hanson, Gatineau, QC - August 29th to September 4th, 2010

]]></description>
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  <blip:puredescription><![CDATA[John Naccarato, RECORD. record. The Obscure Objects of Desire Series. Hybrid Sculptural Object. 2008 - 2010. Part of The Obscure Objects of Desire and the Rise of the Technological Chimera: Towards Death and the Other Exhibit at AXENEO7 and DAIMON, 80 rue Hanson, Gatineau, QC - August 29th to September 4th, 2010]]></blip:puredescription>
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<br />

John Naccarato, RECORD. record. The Obscure Objects of Desire Series. Hybrid Sculptural Object. 2008 - 2010. Part of The Obscure Objects of Desire and the Rise of the Technological Chimera: Towards Death and the Other Exhibit at AXENEO7 and DAIMON, 80 rue Hanson, Gatineau, QC - August 29th to September 4th, 2010

]]></description>
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  <title>untitled (aka leonard), untitled (aka marta)</title>
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  <blip:puredescription><![CDATA[As our socio-cultural frameworks continue to redefine themselves through evolving technological chimeras[1] our ability to engage with identity through memory and in turn, with our perception and understanding of what constitutes reality, has become more complex. Walter Benjamin once said that &#8220;the desire of contemporary masses to bring things &#8216;closer&#8217; spatially and humanly, which is just as ardent as their bent toward overcoming the uniqueness of every reality by accepting its reproduction,&#8221;[2] implicates the mechanical reproductive process as something paradoxical, a process by which we extend ourselves, but also, a process of amputation from reality. My practice explores this paradoxical, yet critical intersection, specifically, how memory transcribed as information - electronically and digitally &#8211; extends one&#8217;s sense of self and identity, and in so doing, initiates a desire to deconstruct physical identity in favour of a virtual &#8216;I&#8217;. The Limits of ControlMy present work &#8216;The Limits of Control&#8217; is comprised of three, interdependent pieces entitled, Untitled (a.k.a. Leonard), Untitled (a.k.a. Marta), and RECORD/record. In Untitled (a.k.a. Leonard), a dismantled, non-functional TV picture tube sits face down towards the floor. Immediately above it, a functional TV set - skinned of its chassis - displays the image of the dismantled picture tube. In Untitled (a.k.a. Marta), a skinned DVD player and TV are used. The DVD player is mounted just above the TV and facing the viewer. The viewer can simultaneously view the DVD, which turns in the DVD player, as well and its projected image on the TV&#8217;s screen. The DVD&#8217;s surface has been marked with colored markers creating a spiral-like design. In RECORD/record, a record player/receiver (circa 1980) sits on the floor, plugged into a wall some five feet away. Projected on to the wall just above it is a large format 16:9 cinematic video loop. The projected image shows the turntable itself turning at a slightly slower rate and dissolving from one perspective into another of itself[1] By technological chimeras, I am referring to any shift towards a hybrid manifestation due to technology - overtly or covertly &#8211; as in technological devices, the relationship of humans to machines and society&#8217;s relationship to technology. [2] Benjamin, Walter]]></blip:puredescription>
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As our socio-cultural frameworks continue to redefine themselves through evolving technological chimeras[1] our ability to engage with identity through memory and in turn, with our perception and understanding of what constitutes reality, has become more complex. Walter Benjamin once said that &#8220;the desire of contemporary masses to bring things &#8216;closer&#8217; spatially and humanly, which is just as ardent as their bent toward overcoming the uniqueness of every reality by accepting its reproduction,&#8221;[2] implicates the mechanical reproductive process as something paradoxical, a process by which we extend ourselves, but also, a process of amputation from reality. My practice explores this paradoxical, yet critical intersection, specifically, how memory transcribed as information - electronically and digitally &#8211; extends one&#8217;s sense of self and identity, and in so doing, initiates a desire to deconstruct physical identity in favour of a virtual &#8216;I&#8217;. The Limits of ControlMy present work &#8216;The Limits of Control&#8217; is comprised of three, interdependent pieces entitled, Untitled (a.k.a. Leonard), Untitled (a.k.a. Marta), and RECORD/record. In Untitled (a.k.a. Leonard), a dismantled, non-functional TV picture tube sits face down towards the floor. Immediately above it, a functional TV set - skinned of its chassis - displays the image of the dismantled picture tube. In Untitled (a.k.a. Marta), a skinned DVD player and TV are used. The DVD player is mounted just above the TV and facing the viewer. The viewer can simultaneously view the DVD, which turns in the DVD player, as well and its projected image on the TV&#8217;s screen. The DVD&#8217;s surface has been marked with colored markers creating a spiral-like design. In RECORD/record, a record player/receiver (circa 1980) sits on the floor, plugged into a wall some five feet away. Projected on to the wall just above it is a large format 16:9 cinematic video loop. The projected image shows the turntable itself turning at a slightly slower rate and dissolving from one perspective into another of itself[1] By technological chimeras, I am referring to any shift towards a hybrid manifestation due to technology - overtly or covertly &#8211; as in technological devices, the relationship of humans to machines and society&#8217;s relationship to technology. [2] Benjamin, Walter

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Video Documentation of X-Series/Vertebra Installation.

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<br />

Short clip being developed for an video installation piece. Working title of Installation: The Obscure Objects of Desire and the Rise of the Technological Chimera: towards Death and the Other Baudrillard in Symbolic Exchange and Death explains that a distinctly different perception of realities - of objects - existed in the past, and in how we experienced and interacted with them. There occurred a definite shift in our experiencing from what was transparent and allegorical; that is &#8221; in discovering something &#8220;natural&#8221; in what is artificial and counterfeit,&#8221; to what would become an artificial experiencing of artificial objects.

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video documentation of installation entitled Vertebra: Act 02 &apos;the skinning of Memory&apos;

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<br />

Video Documentation of installation &apos;x-Series&apos; by NaccaratoThe x-Series explores how information is developed, transferred and manifested for interaction through objects. The x-Series objects consist of analogue-based technology such as VCR&#8217;s, AM/FM Receivers, Record Players and tube TV sets. This site-specific work focuses primarily on sound, but the visual interactive elements also play an important role.video documentation by Andrea Lawrence Playford-Beaudet

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  <blip:puredescription><![CDATA[The work aims to engage the audience in an experiential time-based interaction focused on the ethereal boundaries situating the physical, electronic and virtual interplay of space and time. The work integrates performance-based and technological elements. The gesture-based performative element, performed by the artist, integrates a light sensor and circuit board attached to his wrist and finger. A web cam and microphone are also used in conjunction with the light sensor to trigger visual and auditory elements of the work. The physicality of the work is defined by it sculptural display incorporating several wood boxes (varying sizes), a mirror and screens, which are meant to play off the dimensionality of space. This allows for the focal point of the work to shift continuously for the audience and further enables the performer to integrate himself transparently within the work, thus enhancing for the discrepancy of identifiable boundaries. The work, could be understood as a time machine. The performer is situated between two planes, the wall and a large streched sheet of mylar behind him (which does not appear in the above documentation). Projections triggered by the artist through the sensors, Max/MSP Jitter software and a laptop are being projected onto the wall and reference the Present. A mirror attached to this first plane mirrors back to the opposite side onto the large streched sheet of mylar, images which are distorted and abstracted, referencing the future. Furthermore a TV monitor (the electronic plane) is situated just below the first plane, enclosed in a box alluding to the past.]]></blip:puredescription>
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  <description><![CDATA[

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<br />

The work aims to engage the audience in an experiential time-based interaction focused on the ethereal boundaries situating the physical, electronic and virtual interplay of space and time. The work integrates performance-based and technological elements. The gesture-based performative element, performed by the artist, integrates a light sensor and circuit board attached to his wrist and finger. A web cam and microphone are also used in conjunction with the light sensor to trigger visual and auditory elements of the work. The physicality of the work is defined by it sculptural display incorporating several wood boxes (varying sizes), a mirror and screens, which are meant to play off the dimensionality of space. This allows for the focal point of the work to shift continuously for the audience and further enables the performer to integrate himself transparently within the work, thus enhancing for the discrepancy of identifiable boundaries. The work, could be understood as a time machine. The performer is situated between two planes, the wall and a large streched sheet of mylar behind him (which does not appear in the above documentation). Projections triggered by the artist through the sensors, Max/MSP Jitter software and a laptop are being projected onto the wall and reference the Present. A mirror attached to this first plane mirrors back to the opposite side onto the large streched sheet of mylar, images which are distorted and abstracted, referencing the future. Furthermore a TV monitor (the electronic plane) is situated just below the first plane, enclosed in a box alluding to the past.

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  <category>Art</category>
  <category>cyborg</category>
  <category>art</category>
  <category>performance</category>
  <category>docomentation</category>
  <category>max msp jitter</category>
  <pubDate>Sat, 26 Apr 2008 10:03:33 +0000</pubDate>
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  <blip:puredescription><![CDATA[In search of Echo explores this shamanistic phenomenon through the transitory and ethereal relationship of time/space, body/form, and social/personal identity. The piece is meant to be projected across a large wall (min. 16&apos;w x 9&apos;h) to trigger an immersive environment. There is also consideration to use the piece for interventionist settings - against walls in and outside of buildings]]></blip:puredescription>
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<br />

In search of Echo explores this shamanistic phenomenon through the transitory and ethereal relationship of time/space, body/form, and social/personal identity. The piece is meant to be projected across a large wall (min. 16&apos;w x 9&apos;h) to trigger an immersive environment. There is also consideration to use the piece for interventionist settings - against walls in and outside of buildings

]]></description>
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