In this RTV episode Julia Heyward and Perry Hoberman discuss their multimedia collaboration, conspiracy theories, and the circular quality of “29 SpaceTime.”
“29 SpaceTime” is a work of Multimedia Performance Art with interactive panoramic visuals, sound, music and performance by Julia Heyward and Perry Hoberman. Part docudrama, the narrative is inspired by the beliefs and activities of the inhabitants within a circle of mountains in the Mojave Desert. These narratives are presented within a panoramic projection including planetary movements, big sky weather, predator and prey activity, military maneuvers, and a top-secret engineered world ending event. The nighttime war maneuvers including laser fire, bombs, shape-shifting aircraft, and mysterious geometric light formations, dwarfed only by ‘desert storms’ of the natural kind.
Through the telescope of collective myth and the microscope of personal revelations “29 SpaceTime” looks at aspects of surveillance, mind control, imperial dominance, autonomous space, and the contradiction in the human desire to be “watched over” while practicing free will. All this is witnessed against the backdrop of the spectacle of war, whose theater pretends to watch over and protect us.
Performance date: 10/31/2014 – 11/01/2014
Episode release date: 03/31/2015
Multimedia artist Julia Heyward began her career as a solo performance artist touring America and Europe throughout the 1970s with work that incorporated video, film, monologues and a cappella singing. During the 1980s Heyward’s work expanded into ensemble performances as she formed and toured three multimedia music groups. In January 1981 (a year before MTV’s debut), she premiered 360, a long-form music video. Heyward won a Bessie Award for outstanding performance of the year in 1984 for No Local Stops. Her video works have been featured at various festivals, including the Tokyo International Video Biennial, the Mill Valley Film Festival and the Film-X Film Festival, Los Angeles. She has received a John Simon Guggenheim Foundation Fellowship and several grants from the National Endowment for the Arts.