planet of PROFILE Krysztof Wodiczko has a confession to make to the public. He is responsible for introducing a new and fascinating public art where large scale images are projected onto the faces of prominent landmarks and buildings. Wodiczko was the first guest speaker in the Alcan Lecture series sponsored by the Vancouver League for Studies in Architecture and the Environ- ment. His lecture on Public Projections was recently presented to an attentive audience at the successful Urbanarium Festival in Vancouver. Wodiczko’s controversial public projections onto architecture twists the inherent semiotics and symbolism of buildings. His art theatrically and powerfully animates architecture. “The meaning of structures are at a constant change and new meanings, new images, must be invented for them,” he said. Therefore, he has endeavoured to bring these new images to the forefront using a series of high-powered projectors. Perhaps his greatest coup came in 1985 in London, England when he projected an image of a swastika from the centre of Trafalgar Square onto the South African House consulate. The consulate held the distinction of being the tallest and most illuminated structure in Trafalgar Square. The projection was stealthily executed without the permission of either the city or the South African House consulate. The projection ran concur- rently with an anti-apartheid demonstration which was protesting, in particular, the lack of British Government sanctions against South Africa. Wodiczko admitted that hata -iem@m {it reprinted by popular demand E John Love Have you ever read a comic where, instead of ‘the latest adventures of our the arts volume 3 number 2 november eAnou| PppoL he was unaware that the demonstration was going to be held the same night as his public projection, but he was pleased nonetheless to have a captive audience for his art. The political image went unnoticed for two hours, until it was stopped by the police. Wodiczko said: “Nobody really noticed because it was so natural.” Wodiczko’s humour and political commentary extended to other significant settings. At the War Memorial Hall in Dayton, Ohio.in 1983 he projected images of concentration camp survivors onto the steps of the hall, while on the classical columns of the building he projected inverted missiles. The identity of the building changed from a place of mouming and remembrance into a visual representation of the horrors of war. The symbolism and strong resemblance of the long cylindrical columns to missiles brought forth his recognition of the dichotomy of a war between two ' Hero’, you see in big boldface type the word “reprint,” and the story turns out to be something your Dad hasn’t read in years? Well brace yourselves: It’s been sort. of a slow month in computer-land; I’ve only got one new toy to tell you about this time. Last month | hastily mentioned the eight new Apple Macintosh Plus comput- ers which the school recently purchased. Now, to accompany the new Macs, is our brand-spanking new LaserWriter Plus laser printer! Text produced on this Explanation of the Tides: The Attache of KRYSZTOF WODICZKO icons: the irony of peace achieved by strength. At another war memorial building in Pittsburgh he projected a pair of skeletal hands playing the keys of an accordion. He wanted to horrify the monument and show the public’s macabre frame of mind when they enter the memorial to see the displays of war that have claimed the lives of many soldiers. Thus, he says, his projection transforms the war memorial building into a place where people come to worship death and destruction. ~ Other significant public projections included projecting tank treads onto the bottom of lion monu- ments; projecting a man in a gas mask onto the ruins of a church tower that was physically decaying due to pollution and neglect; a hand placed in the manner of the pledge of allegiance projected onto the A.T. and T. building in New York prior to the 1984 United States presidential election; and a projection of a Soviet missile chained and padlocked to an American missile, onto a war monument in New York. Of the latter, a crowd of 2,000 people gathered to cheer this achieve- ment which symbolically bridged the two sides. The projection gained added significance, timed as it was during arms control talks. Wodiczko’s public projections have been exhibited throughout North America and Europe. Along with Melvin Charney (from Montreal), they were chosen by the National Gallery to represent Canada at the Venice Biennale in 1986. Kevin Louis the !Moon Join Wetrsare, Oct 15/87 baby rivals output from the big photographic Type-setting machine in the Graphic Design area. The LaserWriter provides an alternative to the type- setter, and is, as well, a replacement system in case of a breakdown like the inconvenient one last year. Repairs on the big machine are costly (when pos- sible at all), so the Macs give us some breathing room. Production is also less time-consuming on a Mac/Laser system, particu- larly in the ‘formatting’ stage. In the past, it took a little time for Martin Hunt, Planet staff type-setting guru, to teach all those cryptic, multiple key-stroke commands to new student type-setters so they didn’t get italicized text when they wanted underlined. Now, taking advantage of the Mac’s UNIX-style operat- ing environment, he can let his fatigued fingers languish in semi-retirement. Possibly this issue of the Planet, or the next, will be produced using the LaserWriter system. —Ed’s note: this issue is 92% LaserWriter produced. Okay... this is the REPRINT part | warned you, about. To some of you this’ll seem redundant, because you know it already. Tough. Since we’ve gotten so much new equipment and space since this time last year, | felt this next part was necessary, so here is the ECCAD At-a-Glance Computer Room Guide, which no fridge or locker door should be without: e PEREL GALLERY is a co-operatively un, non commercial exhibition space which is : | officially funded by S.F.U. It is administered by a Curatorial Steering Committee consisting of © tudent representatives from S.F.U., U.B.C., | and E.C.C.A.D., as well as a S.F.U. Faculty | member, a member of the general arts commu- nity, and a representative of the S.F.U. alumni. It’s a groovy space, approximately 40' X 16' with good lighting and a separate reading room. Itis an ideal opportunity for E.C.C.A.D. students to have access to a space all year round, without incurring any of the costs. “A types of ‘work of varying media, including APPLICATION COMPUTER ROOM NO performances, will be considered. Students and art-; = ists interested in exhibiting their work should not Two-D | that there is an information sheet outlining the pro (draw/paint) Amiga 229 F posal criteria available at the Student Society office i Atari ST 223 |. the cafeteria. C-64 230 | All written proposals and accompanying slides ‘ (vid. digitizing) Amiga 229 bes should be submitted in the Student Society/Perel | Atari ST 223 |] Gallery box at the front office or mailed to the follow- C-64 230 re | ing address: Media io eLearn uenne (animation/video) Atari ST 223 L Amiga 229 p E RR E ic Gallery, fap R O S$ e sound digitizin pew Dike sing: Amiga 229 112 West Hastings, icc? Vancouver, B.C., poke fete V6B 1G8. \, (design/layout) et am LADIES Thenextdeadiine for Spring ’88 shows is! Sizes" : Mac 275 Monday:November 30. (text) Mac 275 Atari ST 223 Amiga 229 Three-D (ceramic analysis) Mac 275 -to be confirmed Misc (word processing,programming etc.) all computer rooms PROFILE: Kaysztof Wodicako has a confession to make to the publi. He i responsible fr inwoducing anew and fascinating public an where large scale images are projected onto the faces of prominent landmarks and buildings. Wodicako was the fist guest speaker in the ‘Alcan Lecture series sponsored by the Vancouver League for Studies in Architecture and the Environ- ‘ment. His lecture on Public Projections was recently presented to an attentive audience at the successful ‘Urbanarium Festival in Vancouver. ‘Wodiczko's controversial public projections onto architecture tists the inherent semiotics and symbolism of buildings. His art theatrically and powerfully snimates architecture, "The meaning of structures arc at ‘constant change and new meaning, new images, must be invented fr them,” he said. Therefore, he has ‘endeavoured to bring these new images tothe forefront ‘using a series of high-powered projector. Pecheps his greatest coup came in 1985 in London, England when he projected an image of a swastika from the centre of Trafalgar Square onto the South Aftican House consulate, The consulate held the distinction of ‘being the tallest and most illuminated structure in ‘Teafalgar Square. The projection was stealthy executed ‘without the permission of either the city of the South African House consulate. The projection ran concur renuly with an anti-apariheid demonstration which was protesting, in particular, the lack of British Government ‘sanctions against South Africa, Wodiceko admitted that Have you ever read a comic wher Instead of ‘the latest adventures of our per 2 nove: SS he was unaware thatthe demonstration was going to be held the same night as his poblic projection, but he was pleased nonetheless to have a captive audience for his art. The political image went unnoticed fortwo hours, ‘until it was stopped by the police. Wodiczko sud “Nobody really noticed because it was so natura.” Wodiezko’s humour and political commentary extended to other significant setings. At the War “Memorial Hall in Dayton, Oho in 1983 he projected mages of concentration amp survivors onto the steps ofthe hall, while on the clasicl columns ofthe building he projected inverted missiles. The identity of the building changed from a place of mourning and remembrance into a visual representation ofthe horrors ‘of war. The symbolism and strong resemblance of the Jong cylindrical columns to missiles brought fort his recognition of the dichotomy of a war between two Expliation of the KRYSZTOF WODICZKO icons: the irony of peace achieved by strength At nother war memorial building in Pitsburgh he projected a pair of skeletal hands playing the keys of an accordion. He wanted to horify the monument and show the public's macabre frame of mind when they ‘enter the memorial o see the displays of war that have