Steve Calvert - Mechanical Brides

An enthusiastic return to an extended study in video feedback, begun before video was digital. Having favoured the looping photocopier and audio fx-mix in the interregnum, this simple but gratuitously marvelous process is revisited, now suitably complimented with supplimentary audio by my effects-feedback pure-noise side-project, Jotunheim. I anticipate this test represents the first in an infinite series. Stay tuned...

Ninth annual group art exhibition, 200 artists, 400 works, for sale one night only at 200 bucks each. This year featured the cheaper debut of new works by Steve Calvert, as one among the multitude. Event held June 26 2010 at Storeum Vancouver BC. These three 1" deep shadow box assemblages, constructed using individually unique and unreproducible photocopier feedback images, taped and glued into shadow-box Ikea frames, 8" x 8" x 1.5". All three works were sold on the night of the event. The series, however, continues...

Assemblage drawing combined with SP printed letterpress stanza selected from the Dhammapada. Steve Calvert's submission to the group exhibition which opened May 15 2010. The piece, below, is for sale through Strathcona Press. 22" x 30". Contact Jen with inquiries.

Sept 6 - Oct . 2008. Gallery Atsui's Opening Exhibition. Three person show featuring works by Steve Calvert. Works listed below are still available for sale through Gallery Atsui or Mechanical Brides. Please inquire if interested. In some instances reproductions can also be made available, dimensions variable. [Images link to larger files]

This series, beginning approximately 1998, involved the progressive and generative hand-tracing of photographs of smashed cars shot at wrecking yards and metal salvage scrap lots. Disemboweled engines bursting from shredded and tangled steel... so much violence, obsolescent eschatology of the automobile. Icons of vitalism, instantaneously nullified, broken down and scavenged, composting in the collective imagination. A complex texture of edges, tissues of fibrous lines, landscape of thoughtfully constructed mechanism driven into ruin. Illustrating a critical transition, a necessary transformation, from the ultimate expression of engineered order, anglo-american fine art of the engine, rendered instantaneously useless in a fatal inevitable collision. Instantaneous thermodynamic equilibrium, potential energy reduced to a stable zero. The negative economy, relationships of decomposition, layered and structured into a system reliant on such horrors, spectacular sacrificial waste... My impulse, to harvest the shattered scrap, rebuild new sprawling dynamic landscapes of potential, Life compulsively reassembling the wreckage, order seeking and sorting organizational systems, novel compositional lexicons, grammars for parsing the incoherency beheld. An architecture of scabs, healing the war-ravaged cities. Reaching out toward complexity which exceeds our comprehension; that threshold of recognition beyond which technologies becomes 'imperceptible from magic'. Noise likewise is complexity of an order sufficient to exceeds the observer's capacity to grasp it's pattern. Observation of Chaos is a problem of adjusting tolerance thresholds. It's not the fall that kills you, its the sudden decelleration. And then, the memory loss... compelling error's repetition.

Later, finding Edward Burtynsky's photographs of the Metal Recycling districts in Hamilton ON, where I spent time as a child, finally helped articulate the traumatic source of my own fixation with industrial ruin. Addressing inefficiencies of surplus which hypocritically prop-up the disposable artificial landscape of consumer civilization. Baudriallard, Ballard and Burroughs helped to shed some light in these shadows. Lebbeus Woods also served to confirm I was on the right track.

Treated collaborative drawings, by Corey Jackson [LAX] and Steve Calvert [YVR], 2003-2005.

Xeroglyphy -- The xeroglyph produces an imitation of resemblance; true simulacra in that they are literally copies without original, mimetic of some pythagorean realm which cannot exist. Summoned by the nervous human impulse to find or force a familiar symmetry, the face, in the fold-between, making meaning from the maya matrix, active interstice of collision betwixt memory sensation and attention, unfolds with a simply repeated Rorschach effect. The xeroglyphic effect has become our signature house-special generative procedural technique. Produced by cultivating an internal feedback system within the cycle of a standard digital photocopier, scan-lines reverse-engineered by a cross-platform machine-translation of the equally compelling video-feedback marvel. Generating a consistent matrix of symbolic-simulations, the process has produced a discretely constrained yet near infinite variable of emergent graphical lexicography, scrollable and scaleable to any conceivable output dimension. Invented in the summer of 2000, many of my art applications of the intervening decade diverge from a struggle to resolve an explication for this remarkable phenomenon.

Photocopier feedback follows a generative ruleset analogous to that of video feedback, but with horizontal rather than spiral articulation. The 'original' or seed image is any incidental bit of optical noise or surface contrast, presented at random in the initiatory step. The process is manual, but otherwise autocatalytic. The body is moving much too quickly to be called 'drawing'. The artist is a component servo-mechanism, catalytic spark in an integrated circuit, initiating an electro-mechanical feedback loop. Her presence and attention, reflection, gentle pre-cognitive vibrations. aspriational coaxing-forward of the gaze, the process shuffles itself toward the reader, raising harmonic nodes of emergent coherency, transitory identities auto-selectively self-organizing. Feedback's concatenating effect applies in many electrical, vibrational, and acoustic devices... most famously, feedback most often makes it's introduction in popular 60's music. I have taken as my practice, the liberal exploration, interpretation, and dissemination of such cybernetic riddles presented by the feedback phenomenon. It remains my primary orbital thesis, mode and modus, key thematic instrument for creative inquiry.

XEROGLYPHY : Dimensions Variable, Editions Innumerable, Unique Copies without Origin

LES Gallery Annual Art Auction/Fundraiser March 28th
Cinq Svartalfs. Steve Calvert. 2008

Long-exposure still photography on set the filming of 'Brutal Telling: Traces of Emily Carr' by Mascall Dance, as assistant to the cinematographer David Rimmer. Photos exhibited in 2001 graduating show, Emily Carr Institute, Vancouver BC, May 2001.

Treated slide film for dance-event slide projections, shown intermittently 1999-2005

........................

DIHYDROGEN MONOXIDE

2008-2010 Calvair extends expeditionary photo studies in search of further Simulacra. Tuning the instruments toward water-based perpetuum-mobiles, hunting for the limininal trace emergence of mimesis in aqueous and vaporous flow systems.

Always actively seeking natural dynamic systems to simulate the feedback-simulacrum effect, a deluge of happy discoveries occurred in the autumn of 2009. Treebranches reflecting in a gently rippling pond on a cloudy day closely resembled the high contrast graphic output of the photocopier feedback procedure. Curious. Foam on an airport fountain formed spontaneous calligrams. Bow wave of a ferry paints temporal fractal torrent of formal varieties. Swimming pool surface ties superstrings in refracted light. Icicle-entombed slow motion waterfall opens more crystalline infinities.

Video experiments toward an actionscript for a rotoscoped, vectorized, posterized, stylized... aiming for something 'waking life', turning photography to someting more akin to drawing or illustration. I've been working this problem out in the past year. The amateurish source video was shot Xmas break 2009, with a little digital point and shoot, during a home-studio solo-improv jam, having followed an impulse to add video to my audio recordings, as source material to test out my rotoscopy-simulator. These are only amusing first steps.. still fresh on the work table.

DRAWINGBOARD : On the workbench at BMorg laboratories, Steve Calvert continues polishing pages for series of non-narrative graphic novels, eternally coming-soon... most recent developments include refining actionscript-macros for color treatments on ten years of back-catalogued black and white work... the present condition of these projects are excitedly previewable as follows:

MEKBOK - prototype page breakdown of the Endomechanics series. 2009 introduced fresh color formulations, still under development due to client [self] dissatisfaction... coloring collaborations are warmly invited... eagerly seeking digital color artists, or a suitably motivated army of juvenile primates equipped with graphic tablets / crayons, and/or digital output printing, scanning, email, and freetime capabilities...

GLYPBOK - page cuts of art-by-the-meter long-scrolling photocopier-based generative feedback assemblies -- this project, begun in 2000, is yet forever asymptotically approaching a resolved print formulation...

Olympian Ritournelle - return the younger titans - autumn 2008 collage series fusing the quizzical feedback Svartalfaheim figures of 2007, mashed in with some fresh [still damp even], tricks I'm working out for treating photographic portraits and landscapes ... results remain uncertain, but the exploratory venture is serving its purpose; a comic-book diversionary aside from the more brain-and-eye-straining Mek and Glyp projects...

ARCHIVES - selected visual works, circa 1998-2008 - some material overlaps the current projects...

Wyrdseid - Svartalfaheim - Having resited figurative impulses throughout the mechanist project, I endulged a playful impulse to investigate kawaii, c.autumn 2007. I'd noticed that in cutting along existing grain-lines in the feedback images, pieces separated which in many cases resembled body parts: arms and legs, torsos, certainly heads and faces... i began to select for, cut, hunt and assemble these characters, partly imagining they could be animated, mapped to motion capture like shadow puppets... this extended project is still lingering in the between ... friendly animators are invited to offer ...

Dimensions Variable - A selection of drawing-machine productions, scanned with simple digital treatments of same, spanning 1998-2006... First is Betweeners, an attempt to sketch out material for a graphic novel using the automatic paintbrush - a lock of my own hair attached to a battery-operated hand-fan. Next, the early machine drawings, derived from hand-compositing photographs of smashed cars.

Mechscapes - first instance of the MEK scrolls, c.2007. Refinished again and represented here in cropped dual-page-form, as MEKBOK.

Xeroglyphy - early instantiations of the GLYP series, using the photocopier feedback technique - produced intermittently from the moment of discovery c. 2000, first posted online circa 2007.

Event - photographs of incidental drawings, ink splashes on my drawing table, side effect of the Betweeners series - presented in the Intermission photography exhibition of the same name, in association with Blim...

Collège des Collages - Ongoing lark project, utilizing simple hand-cut magazine-collage, in effort to maintain a level of levity and satire. Contents accumulating between 1996 and 2008.

Photography on flickr - Taking the transliteration of 'Light Drawing' seriously, presented here are several phenomenological studies conducted with my trusty Canon Elph S410.

All content presented in trust to the creative commons, copyleft 1998-2010 StevenWCalvert, Vancouver BC. Prints are available on demand, dimensions variable, scale and costs negotiable per order. Proposals, invitations, contracts and commissions all, naturally, are welcome ... please contact me directly by: :

Text - Collected annual plagiarist assemblage texts - following a selectively cut-up Gysin/Burroughts line, reading the voice of the present future in oracular compressions of aphoristic phrases lifted from the public discourse in all mediums -- memetic fragments bejeweled by the year's intellectual adventuring -- excisions from the enveloping zeitgeist, idea-contagions de-and-re-scrambled with a paranoid-critical internal monologue -- ongoing experiment in long-term psychohistorical sedimentation, search pattern of selective metanarrative... no authorship claimed nor attributed.. to be read in the disembodied fractalline voice of the Demi-Urge Myriad Legion...

Sound - imperative to the Calvair agenda: keeping fingers in all pies , and sound most joyfully of all frivolous acts -- experimental and semi-conventional sound-art has proccupied for now twenty years, through waves of variable intensity --music is vital to any comprehension of art, as is dance to it's practice... risking dilettantism with multiple directionalities, relishing the steady digital convergence of shamanic humanities, singularity hovering ahead in resonant hyperspatial futurity... Hosted here are solo recordings spanning 1996 to present, under several subtitles and alter-egos.... also linked are collaborative improvisational electro-acoustic orchestral recordings made with Intermission Stereo, spanning 2001-2006...

Steve Calvert holds a BA in Art History and Religious Studies from UBC, and a BFA in Intermedia from Emily Carr. Post-graduate self-directed collaborativity studies with the Intermission Artists Society. He feeds himself assisting in film production. Home is Vancouver BC...

	STEVE CALVERT
	PRODUCT:		COLLECTIONS
	EXHIBITION HIGHLIGHTS REEL, TERRAIN OVERVIEW: January 2011 Reaction Diffusion - animation studies, frames of effected video feedback more coming very soon ............ Autumn 2010 Research Studies Reticulations from Dimensions Variable on, Vimeo. An enthusiastic return to an extended study in video feedback, begun before video was digital. Having favoured the looping photocopier and audio fx-mix in the interregnum, this simple but gratuitously marvelous process is revisited, now suitably complimented with supplimentary audio by my effects-feedback pure-noise side-project, Jotunheim. I anticipate this test represents the first in an infinite series. Stay tuned... ............................ Summer 2010 Hindsight THE CHEAPER SHOW #9 Ninth annual group art exhibition, 200 artists, 400 works, for sale one night only at 200 bucks each. This year featured the cheaper debut of new works by Steve Calvert, as one among the multitude. Event held June 26 2010 at Storeum Vancouver BC. These three 1" deep shadow box assemblages, constructed using individually unique and unreproducible photocopier feedback images, taped and glued into shadow-box Ikea frames, 8" x 8" x 1.5". All three works were sold on the night of the event. The series, however, continues... ...................... DHAMMAPADA REVISITED : STRATHCONA PRESS. Assemblage drawing combined with SP printed letterpress stanza selected from the Dhammapada. Steve Calvert's submission to the group exhibition which opened May 15 2010. The piece, below, is for sale through Strathcona Press. 22" x 30". Contact Jen with inquiries. .............. GALLERY ATSUI: THICK HOT Sept 6 - Oct . 2008. Gallery Atsui's Opening Exhibition. Three person show featuring works by Steve Calvert. Works listed below are still available for sale through Gallery Atsui or Mechanical Brides. Please inquire if interested. In some instances reproductions can also be made available, dimensions variable. [Images link to larger files] .................... CURATORIAL DIVISION: Launching Mechanical Brides in 2009, Steve Calvert curated and produced print editions for Angels in the Angles, an exhibition of concrete poetics. Mechanical Brides presents Donato Mancini, Christian Bok, and Marina Roy, at Gallery Atsui, Oct 9 - Nov 3 2009. Curatorial Essay and Exhibition Galleries. .................. GRAPHIC ART COMPOSITE ASSEMBLAGE DRAWINGS - ongoing mixed media proceduralism studies This series, beginning approximately 1998, involved the progressive and generative hand-tracing of photographs of smashed cars shot at wrecking yards and metal salvage scrap lots. Disemboweled engines bursting from shredded and tangled steel... so much violence, obsolescent eschatology of the automobile. Icons of vitalism, instantaneously nullified, broken down and scavenged, composting in the collective imagination. A complex texture of edges, tissues of fibrous lines, landscape of thoughtfully constructed mechanism driven into ruin. Illustrating a critical transition, a necessary transformation, from the ultimate expression of engineered order, anglo-american fine art of the engine, rendered instantaneously useless in a fatal inevitable collision. Instantaneous thermodynamic equilibrium, potential energy reduced to a stable zero. The negative economy, relationships of decomposition, layered and structured into a system reliant on such horrors, spectacular sacrificial waste... My impulse, to harvest the shattered scrap, rebuild new sprawling dynamic landscapes of potential, Life compulsively reassembling the wreckage, order seeking and sorting organizational systems, novel compositional lexicons, grammars for parsing the incoherency beheld. An architecture of scabs, healing the war-ravaged cities. Reaching out toward complexity which exceeds our comprehension; that threshold of recognition beyond which technologies becomes 'imperceptible from magic'. Noise likewise is complexity of an order sufficient to exceeds the observer's capacity to grasp it's pattern. Observation of Chaos is a problem of adjusting tolerance thresholds. It's not the fall that kills you, its the sudden decelleration. And then, the memory loss... compelling error's repetition. Later, finding Edward Burtynsky's photographs of the Metal Recycling districts in Hamilton ON, where I spent time as a child, finally helped articulate the traumatic source of my own fixation with industrial ruin. Addressing inefficiencies of surplus which hypocritically prop-up the disposable artificial landscape of consumer civilization. Baudriallard, Ballard and Burroughs helped to shed some light in these shadows. Lebbeus Woods also served to confirm I was on the right track. Treated drawing, Steve Calvert - 1999 / 2009. .......................... Collaborative drawings with Corey Jackson, Semulon, 2003-2005. Treatments 2009. Treated collaborative drawings, by Corey Jackson [LAX] and Steve Calvert [YVR], 2003-2005. ............ Xeroglyphy -- The xeroglyph produces an imitation of resemblance; true simulacra in that they are literally copies without original, mimetic of some pythagorean realm which cannot exist. Summoned by the nervous human impulse to find or force a familiar symmetry, the face, in the fold-between, making meaning from the maya matrix, active interstice of collision betwixt memory sensation and attention, unfolds with a simply repeated Rorschach effect. The xeroglyphic effect has become our signature house-special generative procedural technique. Produced by cultivating an internal feedback system within the cycle of a standard digital photocopier, scan-lines reverse-engineered by a cross-platform machine-translation of the equally compelling video-feedback marvel. Generating a consistent matrix of symbolic-simulations, the process has produced a discretely constrained yet near infinite variable of emergent graphical lexicography, scrollable and scaleable to any conceivable output dimension. Invented in the summer of 2000, many of my art applications of the intervening decade diverge from a struggle to resolve an explication for this remarkable phenomenon. Photocopier feedback follows a generative ruleset analogous to that of video feedback, but with horizontal rather than spiral articulation. The 'original' or seed image is any incidental bit of optical noise or surface contrast, presented at random in the initiatory step. The process is manual, but otherwise autocatalytic. The body is moving much too quickly to be called 'drawing'. The artist is a component servo-mechanism, catalytic spark in an integrated circuit, initiating an electro-mechanical feedback loop. Her presence and attention, reflection, gentle pre-cognitive vibrations. aspriational coaxing-forward of the gaze, the process shuffles itself toward the reader, raising harmonic nodes of emergent coherency, transitory identities auto-selectively self-organizing. Feedback's concatenating effect applies in many electrical, vibrational, and acoustic devices... most famously, feedback most often makes it's introduction in popular 60's music. I have taken as my practice, the liberal exploration, interpretation, and dissemination of such cybernetic riddles presented by the feedback phenomenon. It remains my primary orbital thesis, mode and modus, key thematic instrument for creative inquiry. XEROGLYPHY : Dimensions Variable, Editions Innumerable, Unique Copies without Origin ......................... SORCERERS :Skull Skates Album Release Party and Art Show, June 26 2009, chez MattO. Neuf Svartalfs. Steve Calvert. 2009. .................. LES Gallery Annual Art Auction/Fundraiser March 28th Cinq Svartalfs. Steve Calvert. 2008 ........................ GOLDEN IMPERIAL: INTERMISSION : BLIM EVENT (2004) .......................... Steve Calvert 1998. Gifts for his mother and friends. Concrete Poetics Incidental Drawings. Dow v Tao Index - drawing machines 1998-2006. Dimensions Variable. .................. BFA graduating exhibition: Long-exposure still photography on set the filming of 'Brutal Telling: Traces of Emily Carr' by Mascall Dance, as assistant to the cinematographer David Rimmer. Photos exhibited in 2001 graduating show, Emily Carr Institute, Vancouver BC, May 2001. ................ Treated slide film for dance-event slide projections, shown intermittently 1999-2005 ........................ DIHYDROGEN MONOXIDE 2008-2010 Calvair extends expeditionary photo studies in search of further Simulacra. Tuning the instruments toward water-based perpetuum-mobiles, hunting for the limininal trace emergence of mimesis in aqueous and vaporous flow systems. Always actively seeking natural dynamic systems to simulate the feedback-simulacrum effect, a deluge of happy discoveries occurred in the autumn of 2009. Treebranches reflecting in a gently rippling pond on a cloudy day closely resembled the high contrast graphic output of the photocopier feedback procedure. Curious. Foam on an airport fountain formed spontaneous calligrams. Bow wave of a ferry paints temporal fractal torrent of formal varieties. Swimming pool surface ties superstrings in refracted light. Icicle-entombed slow motion waterfall opens more crystalline infinities. ..................... Commissions and reproductions are welcomed and available upon request. contact : mechanicalbrides [at] bachelormachines [dot] org ................. ANIMATION TESTS Video experiments toward an actionscript for a rotoscoped, vectorized, posterized, stylized... aiming for something 'waking life', turning photography to someting more akin to drawing or illustration. I've been working this problem out in the past year. The amateurish source video was shot Xmas break 2009, with a little digital point and shoot, during a home-studio solo-improv jam, having followed an impulse to add video to my audio recordings, as source material to test out my rotoscopy-simulator. These are only amusing first steps.. still fresh on the work table. AUXIN Midvinterblot Seith - wroto from Dimensions Variable on Vimeo. Auxin_091223_Overhead from Dimensions Variable on Vimeo. ............. UNCOMFORTABLY NUMB I recently produced animated map inserts for a northwestcoast kayak-powered ocean-health documentary entitled "Uncomfortably Numb", made by filmmaker Mike Reid and colleague Chris Rhodes. Below are preparatory studies for the final animations, featuring the Kitimat Inlet, which is currently being surveyed as an oil super-tanker through-fare. The film is making the rounds on the festival circuit in 2010. Email me for a password if you'd like to see it. .......................... Steve Cavlert is also artist-curator of the online gallery... BACHELOR MACHINES: listed are the contents of my artist's portfolio there: DRAWINGBOARD : On the workbench at BMorg laboratories, Steve Calvert continues polishing pages for series of non-narrative graphic novels, eternally coming-soon... most recent developments include refining actionscript-macros for color treatments on ten years of back-catalogued black and white work... the present condition of these projects are excitedly previewable as follows: MEKBOK - prototype page breakdown of the Endomechanics series. 2009 introduced fresh color formulations, still under development due to client [self] dissatisfaction... coloring collaborations are warmly invited... eagerly seeking digital color artists, or a suitably motivated army of juvenile primates equipped with graphic tablets / crayons, and/or digital output printing, scanning, email, and freetime capabilities... GLYPBOK - page cuts of art-by-the-meter long-scrolling photocopier-based generative feedback assemblies -- this project, begun in 2000, is yet forever asymptotically approaching a resolved print formulation... Olympian Ritournelle - return the younger titans - autumn 2008 collage series fusing the quizzical feedback Svartalfaheim figures of 2007, mashed in with some fresh [still damp even], tricks I'm working out for treating photographic portraits and landscapes ... results remain uncertain, but the exploratory venture is serving its purpose; a comic-book diversionary aside from the more brain-and-eye-straining Mek and Glyp projects... ARCHIVES - selected visual works, circa 1998-2008 - some material overlaps the current projects... Wyrdseid - Svartalfaheim - Having resited figurative impulses throughout the mechanist project, I endulged a playful impulse to investigate kawaii, c.autumn 2007. I'd noticed that in cutting along existing grain-lines in the feedback images, pieces separated which in many cases resembled body parts: arms and legs, torsos, certainly heads and faces... i began to select for, cut, hunt and assemble these characters, partly imagining they could be animated, mapped to motion capture like shadow puppets... this extended project is still lingering in the between ... friendly animators are invited to offer ... Dimensions Variable - A selection of drawing-machine productions, scanned with simple digital treatments of same, spanning 1998-2006... First is Betweeners, an attempt to sketch out material for a graphic novel using the automatic paintbrush - a lock of my own hair attached to a battery-operated hand-fan. Next, the early machine drawings, derived from hand-compositing photographs of smashed cars. Mechscapes - first instance of the MEK scrolls, c.2007. Refinished again and represented here in cropped dual-page-form, as MEKBOK. Xeroglyphy - early instantiations of the GLYP series, using the photocopier feedback technique - produced intermittently from the moment of discovery c. 2000, first posted online circa 2007. Event - photographs of incidental drawings, ink splashes on my drawing table, side effect of the Betweeners series - presented in the Intermission photography exhibition of the same name, in association with Blim... Collège des Collages - Ongoing lark project, utilizing simple hand-cut magazine-collage, in effort to maintain a level of levity and satire. Contents accumulating between 1996 and 2008. Photography on flickr - Taking the transliteration of 'Light Drawing' seriously, presented here are several phenomenological studies conducted with my trusty Canon Elph S410. .................. All content presented in trust to the creative commons, copyleft 1998-2010 StevenWCalvert, Vancouver BC. Prints are available on demand, dimensions variable, scale and costs negotiable per order. Proposals, invitations, contracts and commissions all, naturally, are welcome ... please contact me directly by: : mechanicalbrides [at] bachelormachines [dot] org ............... Text - Collected annual plagiarist assemblage texts - following a selectively cut-up Gysin/Burroughts line, reading the voice of the present future in oracular compressions of aphoristic phrases lifted from the public discourse in all mediums -- memetic fragments bejeweled by the year's intellectual adventuring -- excisions from the enveloping zeitgeist, idea-contagions de-and-re-scrambled with a paranoid-critical internal monologue -- ongoing experiment in long-term psychohistorical sedimentation, search pattern of selective metanarrative... no authorship claimed nor attributed.. to be read in the disembodied fractalline voice of the Demi-Urge Myriad Legion... Sound - imperative to the Calvair agenda: keeping fingers in all pies , and sound most joyfully of all frivolous acts -- experimental and semi-conventional sound-art has proccupied for now twenty years, through waves of variable intensity --music is vital to any comprehension of art, as is dance to it's practice... risking dilettantism with multiple directionalities, relishing the steady digital convergence of shamanic humanities, singularity hovering ahead in resonant hyperspatial futurity... Hosted here are solo recordings spanning 1996 to present, under several subtitles and alter-egos.... also linked are collaborative improvisational electro-acoustic orchestral recordings made with Intermission Stereo, spanning 2001-2006... ................ Steve Calvert holds a BA in Art History and Religious Studies from UBC, and a BFA in Intermedia from Emily Carr. Post-graduate self-directed collaborativity studies with the Intermission Artists Society. He feeds himself assisting in film production. Home is Vancouver BC... calvair [at] gmail [dot] com download: Artist's CV		CV Bachelor Machines Drawingboard: Collaborations - w/ Corey Jackson Lettrism - asemic typography Abstractions - photo FX studies MEK-BOK - b/w pagetests GLYP-BOK - b/w pagetests Archive: Olympians Return Wyrd Seid - Svartalfaheim Mechscape Xeroglyphy Dimensions Variable Collège des Collages Sketchbooks Apertures Event Photography: material behaviouralism studies:: Of Water : new: Lake Sprites Palace of the Ice Queen Foaming Nebulae accumulating: Base Elements of Form Atmospheric Study Of Cities: Palimpsest Vancouver Palimpsest Toronto Architexture Ruins Of Television: Apparatus of Illusions Of Metabolism: Gastronomic Study Mycological Survey Other photosets on flickr: 2009 - Authentic Replica 2008 - Theatre of Operations 2007 - Just Is 2006 - Maintain Your Enthusiasm 2005 - 'Pataphysics 2004 - ATCG 2002 - Middle Worlds 1999 - EXP electroacoustic solo audio: AUXIN Jotunheim Olympians SteppenLocust improvisational noisic with Intermission: Intermission Stereo Mercury Theatre Orchestra MoSK WEB: Elsewhere and Otherwise Insubordinate Automata weblog Intermission Collaborative Drawing steppinlotus on flickr dimensions variable on vimeo Auxin-Olympians on myspace steppinlotus on youtube steppinlotus on delicious
















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