He completed a Bachelor of Fine Arts at the California Institute for the Arts, Valencia, California in 1979.His art covers a range of mediums working with video, sculpture, installation, performance and painting. This is Oursler territory: beyond the spectacle and the scopic, vibrating to the hum of the imponderable powers that govern space, time and our living presence within their constraints. Tony Oursler, On Chance and Face, from Vox Vernacular, 2013. TC: the most interesting man alive, New York, TC: The Most Interesting Man Alive, Virginia, A Collective Invention: Photographs at Play, New York, Off the Wall: Part 1 Thirty Performative Actions, Permanent Public Project: Splatter Project #1, Cell Phones Diagrams Cigarettes Searches and Scratch Cards, Untitled Project for Currency, Switzerland, Trunk Mask Bomb Frame Hatchet Crutch Queen, Perfect Partner (USA): In Collaboration with Sonic Youth, Studio: Seven Months of My Aesthetic Education and Then Some (NYC Version), Studio: Seven Months of My Aesthetic Education and Then Some, Retrospective, Museo D'Arte Contemporanea Roma, Sleepwalk: In Collaboration with Jacqueline Humphries, Darkest Color Infinitely Amplified, New York, Introjection: Tony Oursler mid-career survey, 1976-1999, Videotapes, Dummies, Drawings, Photographs, Viruses, Heads, Eyes & CD-ROM, Scary Monsters | Collaboration with David Bowie, Poetics Project: In Collaboration with Mike Kelley, Toxic Detox: In Collaboration with Joe Gibbons, Tunic (song for Karen): In Collaboration with Sonic Youth, Relatives: In Collaboration with Constance DeJong. [12] Oursler's permutations of the effigy's possibilities produce their peculiar frisson because the conditions of life are discarded, its norms exploded: huge eyeballs disconnected from any body or person, weep and laugh, on their own, as if alive; limbless, limp, tiny rag dolls blossom with huge speaking heads. Constance DeJong is an artist, writer, and performer, who produces fiction, language- and image-based work for performance and theater, audio and video installations. This inner spectre lurks far more disturbingly, she writes, than the phantoms of church or graveyard: One need not be a Chamber - to be Haunted  The artist currently lives and works in New York City. Daniel Paul Schreber, Memoirs of My Nervous lllness, New York, 2001, pp. Oursler has been interested in unconscious influence since early in his practice. In Upsidedown., Oursler presents a literal representation of a contemporary luddite, layering image after image of human vs. technology. 123-153; Roger Luckhurst '(Touching on) Tele-Technology', in Applying: To Derrida, eds. Studio: Seven Months of My Aesthetic Education and Then Some (NYC Version) [3] Material impressions of the new media's work were in high demand. But there has been another crucial shift, since Robertson created the Phantasmagoriain Paris in the 1790s and Goya drew the monsters in his own head. This is apparent in other works by the artist in Tate’s collection, such as the installations Autochthonous AAAAHHHH 1995 (Tate T07056) and The Most Beautiful Thing I’ve Never Seen 1995 (Tate T06989). The machine serves to persecute the patient and is operated by enemies…’[6] See Michael Roth, 'H,ysterical Remembering', in Modernism/Modernity 3:2 (1996), pp. Victor Tausk 'On the Origin of the "Influencing Machine" in Schizophrenia', The Psychoanalytic Quarterly, Vo!. Reason why Graphic Design became popular. In turn, this machine inspired the title of a celebrated article by Victor Tausk, delivered in Vienna in 1918 to the Psychoanalytical Society, in which he discussed several patients who believed they were under the influence of some device or other, and suffered from hallucinations, locutions, a despairing sense of losing control of their own being: 'The schizophrenic influencing machine', writes Tausk, 'is a machine of mystical nature. Tony Oursler: Lock 2, 4, 6, edited by Rudolg Sagmeister, Kunsthaus Bregenz, Bregenz 2006 The Early Show: Video from 1969-1979 , Bertha and Karl Leubsdorf Art Gallery, Hunter His book Dumbstruck: A Cultural History of Ventriloquism, Oxford University Press, 2000, came out after this essay was written.↩ Feb 25, 2020 - Explore William Shaer's board "Jonny Briggs" on Pinterest. Schreber's long, minutely detailed, perfect simulacrum of a calmly rational memory act was cited enthusiastically by Freud, Jung and, more recently, Gilles Deleuze, as the most remarkable personal testimony of derangement, and he too invokes waves and vibrations - the new manifestation of the physical universe - to describe his mental states: 'Apart from normal human language', he wrote, 'there is also a kind of nerve-language... that is to say a human being causes his nerves to vibrate... in my case, however... my nerves have been set in motion from without incessantly and without any respite.’[7] Available for sale from White Cube, Sarah Morris, "October 2020" (2020), Household gloss paint on canvas, 90 × 90 cm Channels of communication through the ether, presented themselves in potentia as deliriously numberless; they became intertwined with the physical possibility of moving objects at a distance by finding some vehicle analogous to radio waves. This installation by Tony Oursler is called "unk". As his Time Line reveals, mesmeric theories were woven into concepts of electricity; similarly, the discovery of x-rays, facilitated by William Crookes's experiments with vacuums and established by Wilhelm Co nrad Rontgen in 1895, the identification of radio waves and the subsequent invention of the wireless, of telegraphy, of the telephone, produced a fevered - and delighted - search to penetrate the unseen. "[16] Historically, the state of possession has not been diagnosed as mental illness: to call upon only one scene, for example, Virgil in the Aeneid passionately evokes the frenzy of the Sybil of Cumae, as the god takes possession of her and speaks through her in her echoing cave; the frenzy makes her rave and froth, but, for the Romans, doesn't define her as mad. by Philip K. Dick. An orange-tinged snow moon hangs wide over Cincinnati and illuminates the night, one cold and windy enough to be February-worthy. By contrast, the spectres that haunt us now have achieved the unsettling cartoon being of media reality; they have also regained their mystery and power to disturb. 13. 16, Image Damage, pp. Nowadays, it is the entrance to a gallery for contemporary art, located in a country with dreams and prejudices as grandiose as its mountains. [9] The resulting book is called Des Indes au Planete Mars as Helene enfolded within her, Flournoy recorded, the personae of an Indian Princess as well as a Martian leader: Helene could inhabit her several identities with conviction: she could speak in a Martian tongue and made detailed drawings of the Martians' mode of travel: a spinning, hand-held fan somewhat like a child's windmill. The condition that has above all fascinated Tony Oursler is Multiple Personality Disorder, which was described in the case study of Helene Smith, made by Theodore Flournoy in Switzerland in 1900. But that definition is slippery, and artists are increasingly puzzling out its difficulty: the performances of Cindy Sherman for the camera take her through a baffling range of personae in which her features both become transformed and yet remain at the same time distinctive. But 'cellular memory' is only one hypothesis, amongst many. It was in the 1890s, that the prefix tele-, used in so many optical and other probes, was also attached to telepathy, by the philosopher Frederic Myers, and to terms coined by the Society for Psychical Research, of which he was a founder, such as tele-kinesis. Parallax: Vol. Mar 3, 2019 - Explore Neil Sparks's board "Joseba Eskubi" on Pinterest. Ourself behind Ourself, concealed See more ideas about painting, contemporary paintings, art. Tony Oursler’s Imponderable (2015–16) offers an alternative depiction of modernism that reveals the intersection of technological advancements and occult phenomena over the last two centuries. In 1799 Robertson rented an abandoned Gothic convent - the Couvent des Capucines - in Paris, dressed it in antique bric-a-brac and black drapes, painted it with hieroglyphs which, he wrote, seemed 'to announce the entrance to the mysteries of Isis', lit it weakly with 'a sepulchral lamp', and maintained before the spectacle began 'an absolute silence'. Yin- Yang Symbol. Insomnia, 1997 - Tony Oursler (MDID: FEL8343) Celestial Woman Undressed by a Monkey, c. 975-1000 (MDID: FEL8364) The Ends of the Earth, 1948 - Leonor Fini (MDID: FEL8483) Untitled, Providence, Rhode Island, 1975-1978 - Francesca Woodman (MDID: FEL8499) Posted 9th March 2012 by Unknown Labels: uploads. Since Hogg wrote his extraordinary study of religious fanaticism and derangement, figures of multiple identity, of shared and scattered personal memories, of zombie thefts of soul and spirit, of out-of-the-body wanderings and split existences have passed from the margins of literature through the main doors of the canon, inspiring plots in writers as diverse as R.L. Simon Shaffer and Adam Lowe, Kettle's Yard, Cambridge, 2000.↩ See what Holly Orpen (hollyo1383) has discovered on Pinterest, the world's biggest collection of ideas. The point of invoking this historical shift here is that Tony Oursler's The Influence Machine, created in the new millennium, derives from a clinically paranoid, disturbed, fragmented concept of human personality. 113-142.↩ Amit Izack - 168 Followers, 437 Following, 16046 pins | Art artist digital Daniel Tiffany, Toy Medium: Materialisation and Modem Lyric, University of California Press, 2000.↩ Tony Oursler. 1.See the catalogue Noise, eds. 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