Paul D. Miller aka DJ Spooky That Subliminal Kid
DJ Spooky (Paul D Miller, born 1970, Washington DC) is a composer, multimedia artist
and writer.
Miller's work as a media artist has appeared in a wide variety of contexts including the Whitney Biennial; The Venice Biennial for Architecture (2000); the Ludwig Museum in Cologne, Germany; Kunsthalle, Vienna; The Andy Warhol Museum in Pittsburgh. His work “New York Is Now” has been exhibited in the Africa Pavilion of the 52 Venice Biennial 2007, and the Miami/Art Basel fair of 2007.
Miller's first collection of essays, entitled “Rhythm Science” was published by MIT Press in 2004, followed by “Sound Unbound,” an anthology of writings on electronic music and digital media, published in 2008. His written work has also appeared in The Village Voice, The Source, Artforum and Raygun among others.
Miller’s deep interest in reggae and dub has resulted in a series of compilations, remixes and collections of material from the vaults of the legendary Jamaican label, Trojan Records. Other releases include Optometry (2002), a jazz project featuring some of the best players in the downtown NYC jazz scene, and Dubtometry (2003) featuring Lee ‘Scratch’ Perry and Mad Professor.
Miller's latest collaborative release, Drums of Death, features Dave Lombardo of Slayer and Chuck D of Public Enemy among others. He also produced material on Yoko Ono's recent album “Yes, I'm a Witch.” Miller’s large scale, multimedia performance pieces include “Rebirth of a Nation” (now on DVD), and “Terra Nova: Sinfonia Antarctica.”
Project: Kino Glaz / Kino Pravda: Remix:
LOLA and the Artlab Gallery in conjunction with the McIntosh Gallery, at the University of Western Ontario presentan installation of recent work by composer, multimedia artist, writer and scholar Paul D. Miller, aka DJ Spooky. Kino- Glaz: Remix is a glimpse into one resolution of conflict: a social revolution. Miller's work is a rescoring of Kino-Glaz (1924) by theinfluential Russian filmmaker DzigaVertov, whose work documents post- revolutionary Soviet Russia. Many of Vertov's early experiments in filmare similar to techniques in popular music videos — Miller's contemporary soundtrack dislocates Vertov's film historically by allowing one to imagine this is a contemporary fiction rather than a portrait of another time and place.
According to Miller, " I want(ed) to show some of the connections between 'revolutionary cinema' and social change from the view point of DJ culture"...in order "to engage the 21st century fascination with realism and synthesisfrom archival resources and make a connection with historical 'montage' with someof the concepts that Vertov pioneered. "
Shown alongside the film will be an installationof Miller's remixes of early prints from Malevich's Constructivist prints, andAleksandr Rodchenko's film posters that date from roughly the same period asVertov's films. In his artist statement for the installation Miller states: " I look at both the installation andfilm projects as reflections of a historical search for the roots of whatSergei Eisenstein liked to call 'dialectical-montage' – the main idea is toshow the connections between contemporary art practice, and the way film has changed the way we think of contemporary digital art and sound composition."
Location: ArtLab / McIntosh Gallery at the University Of Western Ontario http://www.uwo.ca/visarts/about/artlab.html
Dates and Times: September 13- 19th, 12:00PM to 6:00PM Monday to Friday. Saturday: Noon to 5:00PM
