Paul DeMarinis has been working as an electronic composer since 1971 and has created numerous performance works, sound and computer installations and interactive electronic inventions.
He has taught computer, video and audio art at Mills College, Wesleyan University, San Francisco State University and the New York State College of Ceramics, and has been a video game designer for Atari Inc. and Scholastic Software. He has performed internationally at The Kitchen, the Festival d'Automne á Paris, NHK Television in Tokyo, Het Apollohuis in Holland and at New Music America.
His interactive computer audio and graphics systems have been installed at the Shaffy Theatre in Amsterdam, The Wadsworth Atheneum in Hartford and the Museum of Contemporary Art in Chicago. He has been commissioned to create permanent computer audio art works for The Exploratorium, The Ontario Science Centre and The Boston Children's Museum and has been the recipient of major awards including three National Endowment for the Arts fellowships for the Visual Arts, two New York State Council on the Arts grants, a New York Foundation for the Arts fellowship in New Genres, as well as a National Endowment for the Arts Interarts project grant and Composers Fellowship.
Much of his recent work involves speech processed and synthesized by computers, available on the Lovely Music compact disc Music as a Second Lanugage, and the interactive installation Alien Voices. A recent series of installation works, The Edison Effect, uses optics and computers to make new sounds by scanning ancient phonograph records with lasers.
DeMarinis is currently Artist-in-Residence at Xerox PARC in Palo Alto, California.
He has taught computer, video and audio art at Mills College, Wesleyan University, San Francisco State University and the New York State College of Ceramics, and has been a video game designer for Atari Inc. and Scholastic Software. He has performed internationally at The Kitchen, the Festival d'Automne á Paris, NHK Television in Tokyo, Het Apollohuis in Holland and at New Music America.
His interactive computer audio and graphics systems have been installed at the Shaffy Theatre in Amsterdam, The Wadsworth Atheneum in Hartford and the Museum of Contemporary Art in Chicago. He has been commissioned to create permanent computer audio art works for The Exploratorium, The Ontario Science Centre and The Boston Children's Museum and has been the recipient of major awards including three National Endowment for the Arts fellowships for the Visual Arts, two New York State Council on the Arts grants, a New York Foundation for the Arts fellowship in New Genres, as well as a National Endowment for the Arts Interarts project grant and Composers Fellowship.
Much of his recent work involves speech processed and synthesized by computers, available on the Lovely Music compact disc Music as a Second Lanugage, and the interactive installation Alien Voices. A recent series of installation works, The Edison Effect, uses optics and computers to make new sounds by scanning ancient phonograph records with lasers.
DeMarinis is currently Artist-in-Residence at Xerox PARC in Palo Alto, California.
Rebecca Cummins, Paul DeMarinis
Light Rain is a fusion of two works - Rebecca Cummins' The Rainbow Machine (1998) and Paul DeMarinis: RainDance (1998) - that explore the acoustic and optical phenomenal properties of water droplets.
Among the many 19th century attempts to make sound visible, the physicist Savart's discoveries of the effect of sound on water streams led to avenues of research that are still actively explored. A stream of water falling from a faucet, though it looks continuous, is actually a series of distinct droplets falling at regular intervals. Sound vibrations can influence the structure of the stream, producing distinct visual patterns. What is more amazing is that these patterns preserve aspects of the sound signal itself, such that when the drops fall on a resonating surface recognizable melodies are produced. Like its predecessor RainDance, Light Rain uses this phenomenon to play musical melodies on spectators' umbrellas.The falling water also produces primary and secondary rainbows while the sun shines. The rainbow has been the subject of potent legends on every continent, and the inspiration for fundamental studies in optics. The spectra of the rainbow are virtual images caused by the refraction of light in water droplets at an angle between 40-42 degrees measured from the viewer's eye; move and it moves with you. With early morning and late afternoon light, the rainbows appear high in the sky; at mid-day, circular spectra form on the ground. Depending on the viewer's position relative to the sun and water, the rainbow may appear to be 2 or 60 meters across. In this literally "immersive" installation you can let the sunlight fall on your back and follow your shadow into the rainbow, or intercept the water streams with your umbrella to initiate surprising sound effects.
Rebecca Cummins explores the sculptural, experiential and sometimes humorous possibilities of light and natural phenomena (often referencing the history of optics). Paul DeMarinis has been making noises with wires, batteries and household appliances since the age of four.
Light Rain is a fusion of two works - Rebecca Cummins' The Rainbow Machine (1998) and Paul DeMarinis: RainDance (1998) - that explore the acoustic and optical phenomenal properties of water droplets.
Among the many 19th century attempts to make sound visible, the physicist Savart's discoveries of the effect of sound on water streams led to avenues of research that are still actively explored. A stream of water falling from a faucet, though it looks continuous, is actually a series of distinct droplets falling at regular intervals. Sound vibrations can influence the structure of the stream, producing distinct visual patterns. What is more amazing is that these patterns preserve aspects of the sound signal itself, such that when the drops fall on a resonating surface recognizable melodies are produced. Like its predecessor RainDance, Light Rain uses this phenomenon to play musical melodies on spectators' umbrellas.The falling water also produces primary and secondary rainbows while the sun shines. The rainbow has been the subject of potent legends on every continent, and the inspiration for fundamental studies in optics. The spectra of the rainbow are virtual images caused by the refraction of light in water droplets at an angle between 40-42 degrees measured from the viewer's eye; move and it moves with you. With early morning and late afternoon light, the rainbows appear high in the sky; at mid-day, circular spectra form on the ground. Depending on the viewer's position relative to the sun and water, the rainbow may appear to be 2 or 60 meters across. In this literally "immersive" installation you can let the sunlight fall on your back and follow your shadow into the rainbow, or intercept the water streams with your umbrella to initiate surprising sound effects.
Rebecca Cummins explores the sculptural, experiential and sometimes humorous possibilities of light and natural phenomena (often referencing the history of optics). Paul DeMarinis has been making noises with wires, batteries and household appliances since the age of four.
[url]http://rebeccacummins.com/cummins_flash.htm
Rebecca Cummins:
'DESCENDING METAPHORS', 'LIQUID SCRUTINY'
The artist's focus is on technology, and the way that technologies can be used to change, and control understandings. The video tower displays phrases and texts used during the Gulf War where a terrifying poetry of euphemism was generated to obscure a realisation of the outcomes of metal or explosives meeting flesh and bone. The goblets re-articulate a centuries-old design for a surveillance technology, one initially perhaps intended as a conversation point, but which in contemporary form now has a role in our everyday lives.
'DESCENDING METAPHORS', 'LIQUID SCRUTINY'
The artist's focus is on technology, and the way that technologies can be used to change, and control understandings. The video tower displays phrases and texts used during the Gulf War where a terrifying poetry of euphemism was generated to obscure a realisation of the outcomes of metal or explosives meeting flesh and bone. The goblets re-articulate a centuries-old design for a surveillance technology, one initially perhaps intended as a conversation point, but which in contemporary form now has a role in our everyday lives.
Paul DeMarinis+Rebecca Cummins作品
Paul DeMarinis takes rejected or marginal technologies and makes machines, objects, and installations that speak of the ways in which our voices and visions are encoded in technology. In Moondust Memories (2001), little roving robots, made from Lego Mindstorms Units—robotic kits for children that build upon the popular Lego construction kits—explore a phosphorescent lunarlike surface, leaving behind trails of their travels. An ambient galactic soundtrack with alien blips and burps, which was created as a nostalgic homage to Louis and Bebe Barron’s soundtrack for the Forbidden Planet, accompanies them as they bump into the walls and each other. A kind of artist’s drawing machine, these little robotic vehicles are reminiscent of the Mars Pathfinder, and leave the same kind of tread marks in the dusty surface. Every now and then there is a flash of light in the otherwise dark space, which serves both to locate the viewer momentarily in the space and also to show the time-lapse drawing of the machines throughout the duration of the show.
