ABSTRACT
Paul DeMarinis has been making art since 1971 with specific interest in how various objects can be used to transmit sound and information, and in what ways that work can be altered by interference. DeMarinis shared the ideas and processes behind his projects, presenting images from exhibits and installations as well as video and audio clips. Much of DeMarinis’ work draws from early, “orphaned technologies.” His projects include The Messenger (1998), an internet driven installation based on early proposals for the electrical telegraph, in which email messages are displayed on three alphabetic telegraph receivers; The Edison Effect (2009), which plays antique Edison cylinder recordings with laser beams that pass through a bowl of two goldfish whose movements can interrupt the beams; and RainDance, in which jets of water are modulated with audio signals that are inaudible to the human ear until intercepted by a large umbrella (acting as a loudspeaker).

A video recording of Paul DeMarinis’ talk, A Noisy Archaeology, is available below.

BIO
Paul DeMarinis is a Professor of Studio Art at Stanford University. He specializes in electronic media art production, and is a pioneer in the use computers for performance art. He has performed internationally, at The Kitchen, Festival d’Automne a Paris, Het Apollohuis in Holland and at Ars Electronica in Linz. His interactive audio artworks have been exhibited at the I.C.C. in Tokyo, Bravin Post Lee Gallery in New York, The Museum of Modern Art in San Francisco and the 2006 Shanghai Biennale. He has received major awards and fellowships in both Visual Arts and Music from The National Endowment for the Arts, N.Y.F.A., N.Y.S.C.A., the John Simon Guggenheim Foundation, the Rockefeller Foundation and was awarded the Golden Nica for Interactive Art at Ars Electronica in 2006.