PURPLE RAIN
David Haines, Joyce Hinterding
2004

Defiantly unstable, the noise over Purple Rain's pristine mountain glitches, the transmission pumping through the ether at a rate backed by the combined transmission channel feed of thousands of watts. TV, like the mountain's avalanche, metaphorically flexes its considerable power. Over and above its stable core of this bedrock image, the avalanche pours, triggered by fluctuations in the local analogue television broadcasts. The image of a woman's face, a 'talking head' which characterizes so much of TV, occasionally breaks in; as does a softer snowstorm driven in from one side.

The driver/selector of this avalanche and its glitches is live: suspended antennas provide the fluctuating 'data-power' of input of signals to the triggers. Thus the foregrounding input is less image-content than power - the inherent power which Shelley interrogated in "Mt Blanc."

"Holding an intermittent interchange, with the clear universe of things around;...Far far above piercing the infinite sky, Mont Blanc appears, -still, snowy, and serene-....the snows descend." Percy Bysshe Shelley, Mt Blanc.

There is a correlation to be drawn between the invisible forces of Nature's mystic 'natural' power and the pumping of thousands of watts through the frequencies of the electromagnetosphere. What manifests is intimately connected with unseen powers, the disturbance of the avalanche or digital 'snow' testament to forces of Nature which otherwise remain unseen, 'serenely' obscured. We never tap directly into the powers summed up in the mountain image, but rather to the subsidiary harnessing of signals on carrier waves. Purple Rain amplifies and reveals the noise transmissions, normally silenced in TV and allows them to dominate in order to yield a physical experience of the electromagnetic force behind the broadcast image.

Extract from, Purple Rain: The last Transmission, Ann Finegan 2006.

David Haines (Australia) was born in London in 1966 and Joyce Hinterding (Australia) was born in Melbourne in 1958. Both artists live and work in the Blue Mountains, NSW. Australia. Haines & Hinterding work both collaboratively and independently. They were the Australian representatives at the 26th Bienal de Sao Paulo, Brazil (2004) and have collaborated on numerous exhibitions, including; Two works for Wilhelm Reich, OE Antennae and OrupDesert 1954-55 after field study number 2, PICA Perth WA (2006), Hollow earth theory revived: field study 1& 2, 24 HR Art Darwin, NT (2005); Lets talk about six, Dunedin Public Art Gallery, New Zealand (2004); Liquid sea, Museum of Contemporary Art, Sydney (2003); MAAP - Multimedia Art Asia Pacific, Art Museum of China, Millennium Monument, Beijing (2002); st@rt up, new interactive media, Museum of New Zealand, Te Papa Tongarewa (2002); Space odyssey: sensation and immersion, Australian Centre for the Moving Image, Melbourne and Art Gallery of New South Wales, Sydney (2002-01 and The Levitation Grounds, Artspace, Sydney (2000).

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