Accepted for Presentation: THE SCIENCE OF CONSCIOUSNESS CONFERENCE 2016 Art Tech Exhibition, Arizona USA, April 2016.
A digital video that integrates coordinated rhythmic cycles in an attempt to “prime” a condition or state of consciousness that might be called noetic or lucid wakefulness, which is conducive to and accelerates inspiration and creative activity.
Exhibited Prints and Projection:"Axis Mundi Mnemonoic- Artistic Expeditions of Consciousness", NYC 2015.
The Totem as Axis Mundi… (and Artistic Expeditions of Consciousness): For me, artistic practice is an expedition of consciousness. I’m interested in practices and devices that facilitate a transformative shift in consciousness. In particular, creative practices and works that result in extraordinary peak performance abilities or inspired information.
Accepted for Presentation: TOWARD A SCIENCE OF CONSCIOUSNESS The Tucson Conference, Arizona USA, April 2014.
Cult Of The Head: alternative models of consciousness and creative works as vehicles of aspects of consciousness such as ?spirit?, described by artists, musicians and other creative practitioners. Artists tend to know whether or not one of their works is a successful vehicle of not only emotion, but of a state of being, a condition, a spirit. How would they identify the qualities of a particularly soulful or soulless work? What insights might be gained by looking at creative works such as art, music and literature as containers, generators, ?pointers-to? or collaborators of consciousness?
Proposal for: ISEA2014 - 20th International Symposium on Electronic Art, Dubai, October 30 to November 8, 2014.
Paper: Axis Mundi, Center of the universe: circular procession rites and mosh pits, a comparative study
Exhibition: Axis Mundi, Communal Cognitive Mosh A video mnemonic based on The Art of Memory; knowledge is accessed from alternative realms generating states of inspired lucidity among the viewers as co-creators of the communal cognitive mosh.
Video Sample: "Cairo Circuit" Installation Documentation, Di-Egy Festival 2013
Exhibited at the Di-Egy Festival 2013, Cairo, Egypt, April, 2013.
The ?CAiiA CAirO Circuit? is a digital video installation, responsive to video input from exhibition participants as co-creators. The concept is derived from my current investigation of creative form as a means to traverse the boundaries of consciousness in order to access perspective and insight. Influences include thirteenth century philosopher Raymon Llull whose graphical devices, part magical sigil and part mnemonic, were instruments intended to reveal information from memory and elsewhere. The timing of the video sequences is based on the African-Yoruba ritual polyrhythm for Eshu/Eleggua, also known as Hermes/Mercury, the guardian messenger at the crossroads of alternative realms. The imagery is a montage of social movement and the piece is intended as a wish for, and a group meditation on the emergence of creative spirit.
If walls could talk? With a nod to Mike Doud and Peter Corriston's classic album cover for Led Zeppelin's "Physical Graffifi", windows of a building reveal strange and exotic happenings. Video projections celebrate the eclectic history and current vibrancy of 14th Street with images of Andy Warhol's Factory, Bettie Page, burlesque, vaudeville, silent movie studios, dance halls, rock concerts, Union Square protests and Boss Tweed's Tammany Hall. Presented by Art in Odd Places 2009: SIGN, an annual festival exploring the odd, ordinary and ingenious in the spectacle of daily life.
And on the Bowery, NYC:
"Bowery Bazaar - Physical Graffiti" installation, Nov 2009 - Jan 2010
Pam has recently been commissioned by the Jefferson Center to develop a video performance funded by the National Endowment for the Arts. [Project summary from the Jefferson Center:] "'Kingdom Come' is a multimedia performance juxtaposing Nikki Giovanni's radical Black Nationalist poetry with video images of early white rock 'n' roll stars and 'reclaimed' performances of their hits as interpreted by the Paschall Brothers, an acclaimed traditional African American jubilee gospel ensemble. Historic film images and real-time video manipulated by Pam Payne will blur the distinctions among the live and recorded performances that meet in a mediated, larger-than-life environment."
At Swing Space Pam organized and re-mastered a portion of the Colab video archives by transferring old-format ¾" video tape to digital and producing DVDs. Collaborative Projects, a.k.a. "Colab", was formed in 1978 and was distinguished from contemporary NYC artists' groups by its regular open meetings and open membership. For roughly 10 years this fellowship of 40 or so artists, many well-known today, sought to develop, produce and distribute collaborative works in all media often with community focus. During that time, Colab member - now art historian Dr. Alan Moore presented a series of regular video screenings known as the "MWF Video Club". Today, this collection contains more than 100 titles and includes transformative art events such as the 1980 "Real Estate Show", an illegal exhibition in a NYC-owned-abandoned Delancey Street building, which resulted in the establishment of the now renowned center for art and activism, "ABC No Rio".
Video Fly is a set of interactive video processing tools that allow the performer to manipulate live or recorded video ?on the fly?. It allows for real time processing of a live camera image, and immediate projection/display of the resulting image. The Video Fly software is a flexible and customizable tool for use with various equipment configurations. Terry Mohre and Pam Payne are co-developers of Video Fly and perform with it often in collaboration with musicians, poets, dancers and performance artists. (photo by Mark Lentz)
Lead singer of Brooklyn's Crybaby MacArthur describes her cross-country road trip; hitching rides and hooking up with Bent Outta Shape?s tour van for a lift, playing gigs along the way. Features music by Brooklyn's CryBaby MacArthur and Bent Outta Shape. (photo by Steve Shane Wiener)
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Terry Mohre and I were invited to create a workshop experience using Video Fly, to produce video for large scale projection and cablecast during this 3-day festival in Portland, Maine. Guest Artists, students and volunteers shot video tape of the festival's 10 music venues, dance, art and food presentations from around the world. Then, at the Community TV Center, Guest Artists and Students used Video Fly to process the video. The resulting video was broadcast live on cable TV during the Festival as well as projected at performance venues and in the evenings projected in very large scale on buildings along Congress Avenue in Portland.
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To celebrate their move on a leap year weekend, Chashama solicited proposals from performers, musicians and artists to create a "Happening". We used a market stall or circus tent as a metaphor for our video screen, and used Video Fly to process and project anything that was happening within the vicinity of our tent. The 6 hour event included spontaneous improvisations from "audience" participants in addition to scheduled performers: Patrick Brennan (Saxophone), Walter Wright (video performance), Stefan Eins (performance), Michael Carter (reading).
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Sponsored by the NY Mercantile Exchange, an acrylic 4 foot high, clear, hollow Plexiglas apple was filled with a depiction f the trading floor. With a hand crank, participants would crank the fan and the traders sales cards would fly within the apple, creating a "snow globe". On view at the mercantile exchange park in downtown NYC during the summer and fall of 2004.
An improvisational performance titled "Limb, Sound, Paint... Screen" included dance (Patricia Nichols), saxophone (Patrick Brennan), Chinese master calligraphy (Lan Ding Lui) and video performance using Video Fly. A camera is suspended above the calligrapher. Her paper and painting activity is processed live by the Video Fly's pilot, Glenn Mohre, seated in the audience with a laptop. The resulting image is projected on the large screen behind the performers.
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Digital Prints of graffiti from NYC's East Village, juxtaposing the changing thoughts and attitudes in the voice of the East Village Street from 1980s to the 2000s.
A video motion painting that depicts flying lessons from a 6-year-old girl. Visually rhythmical with textures that approach a pastel and watercolor. Uses digital video capture and playback software developed with collaborator Terry Mohre
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A "visual song" illustrates the creative process. Includes analog and digital video processing, using digital video capture and playback software developed with collaborator Terry Mohre.
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A triplet of digital feelings, flowers form friendship, dance celebration of awakening. A video motion painting using digital video capture and playback software developed with collaborator Terry Mohre.
A portrait of the East Village in the 1980's. In this motion painting, local graffiti provides a glimpse of a gritty, provoking neighborhood.
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