Is Chicago, Is Not Chicago

The Nightingale and Hyde Park Art Center present: Is Chicago, Is Not Chicago

Thursday, September 10, 2020, free with RSVP,
Alongside animated shorts selected by Stephanie Graham for Boundary at Hyde Park Art Center.
Programmed by Emily Eddy and Jesse Malmed

a drive-in with no feature, a decentered and oneiric midwest — speculative if incoherent — filled with the atmospheres of a time out of time.

They say “these strange times” and emails wish us well. We enter each other’s homes without leaving ours; we take to the streets even as there are fewer places to go; urgency, emergency and crisis collide with new soporific cycles. Like trying to research the untraceable quotation that “the closer you look at things, the less you see,” those slant truths aren’t scant, but they may be to easier to trace at the boundaries (which reveal themselves to be anything but) than in the conical middle. Join us in the immediate vicinity of placelessnesses: Is Chicago (Not Chicago); is a movie, is not a movie; is the Nightingale, is not the Nightingale.

pre-show reel eric fleischauer – Lost Art Slideshow (looping)

Glamhag – Diet Glam Ad

By Way of Today – Dr. Ned Charles

Zachary Hutchinson – How to Make a
Chicago Style Hotdog Cake

Caitlin Ryan – A Love Story

Deborah Stratman – Shrimp Chicken Fish

Ben Balcom – Speculations

Cauleen Smith – Songs for Earth and Folk

Danièle Wilmouth – Fanfare for
Marching Band

Curtis Miller – Do It Again

Frédéric Moffet – The Magic Hedge

Amir George – Moments of Intention

Filed under: artist in attendance, drive in, experimental, video

Brent Coughenour

The Sick Sense (live a/v performance!)

Wednesday, April 1, 7 PM, $7-$10
Cancelled for now – check back for reschedule info

Building on research by Diana Deutsch, Alfred Bregman, Maryanne Amacher and others, The Sick Sense is an ongoing project exploring the limits of the perceptual system. These projects stimulate otoacoustic and flicker phenomena and auditory and visual hallucinations while searching for stimulus patterns that deactivate the brain’s default mode network, switching the brain into the role of ecstatic perceiver.


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The Sick Sense, part 2: The Seventh Sense (for Maryanne Amacher)
approx. 25 minutes
Wherein, while seeking the annihilation of the self at the boundaries of the perceptual system through a mechanism comprising grid patterns controlled by banks of sine waves, we discover otoacoustic and flicker phenomena—auditory and visual hallucinations which deactivate the brain’s default mode network (DMN), resulting in the ecstatic euphoria reserved for the beatific.


left/right/wrong (or, RGB and You and Me) – The Sick Sense, Part 3 (for Diana Deutsch)
approx. 15 minutes
Phasing, color blending modes and the verbal transformation effect combine to create a sensory overload spurring a variety of auditory and visual hallucinatory phenomena and depth illusions, a series of techniques clinically proven to have salutary effects on depression, schizophrenia, obsessive-compulsive disorder, chronophobia, and other maladies of the mind.


The Sick Sense 2020: The Year We Make Kontakte (Work-in-progress)
approx. 20 minutes
“During a sunny afternoon foray spent gamboling along the thresholds of flicker fusion and the auditory fusion frequency, I discovered, for the first time, ways to bring all properties [i.e., timbre, pitch, intensity, and duration] under a single control in order to create a total serialism of the mind, a sort of psychophysiological gesamtkunstwerk in which the fabric of time is rolled up like a rug, rotated, cut into sections, taken out of doors to be cleaned slice by slice, then reassembled into its previous totality and unrolled, once again seamlessly blanketing the surface of our conscious reality.” -Karlheinz Stockhausen


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Brent Coughenour is a media artist originally from the Motor City, currently based in the Golden State, whose most recent work incorporates computer programming for live manipulation of sound and image. He has presented his work at a variety of festivals and venues throughout the U.S. and internationally and is distributed by Video Data Bank.

Filed under: artist in attendance, expanded cinema, performance, Uncategorized, video

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