![]() The incident left sports anchor Dan Roan bemused, saying, “Well, if you’re wondering what’s happened, so am I.” He then unsuccessfully tried to repeat what he was saying before the incident occurred. The hijack was stopped after engineers at WGN switched the frequency of their studio link to the John Hancock Center transmitter. There was no audio other than a buzzing noise. His head was in front of a sheet of moving corrugated metal, which imitated the background effect used in the Max Headroom TV and movie appearances. During highlights from the Chicago Bears’ 30–10 home victory over the Detroit Lions that afternoon in the sports report, the screen went black for 15 seconds, then returned with a person wearing a Max Headroom mask, moving around and jumping. He first occurrence of the signal intrusion took place during then-independent station WGN-TV (channel 9)’s live telecast of its primetime newscast, The Nine O'Clock News (now known as WGN News at Nine). Although, in 2010, an unknown user on the famous online platform Reddit claimed to personally know the people behind this act: in addition, he formulated a very detailed theory about the dynamics of this intrusion and its preparation, but he decided not to mention any names, in order to avoid any problems to his acquaintances. Neither the hijacker nor any known accomplices have ever been found, caught or identified, which leaves the incident unsolved. The intruder was successful in interrupting two broadcast television stations within the course of three hours. It is an example of what is known in the television business as broadcast signal intrusion. The Max Headroom broadcast signal intrusion was a television signal hijacking that occurred in Chicago, Illinois, United States on the evening of November 22, 1987. La Pocha strives to eradicate myths of purity and dissolve borders surrounding culture, ethnicity, gender, language, and métier. The basic premise of these collaborations is founded on an ideal: If we learn to cross borders on stage, we may learn how to do so in larger social spheres. ![]() La Pocha collaborates across national borders, race, gender and generations.Their collaborative model functions both as an act of citizen diplomacy and as a means to create ephemeral communities of like-minded rebels. Projects range from performance solos and duets to large-scale performance installations including video, photography, audio, and cyber-art. As of June 2006, members include performance artists Guillermo Gómez-Peña, Violeta Luna, Michelle Ceballos, and Roberto Sifuentes curators Gabriela Salgado and Orlando Britto and over thirty associates worldwide in countries such as Mexico, Spain, the UK, and Australia. It provides a base (and forum) for a loose network of rebel artists from various disciplines, generations and ethnic backgrounds, whose common denominator is the desire to cross and erase dangerous borders between art and politics, practice and theory, artist and spectator. La Pocha Nostra (is an ever-morphing trans-disciplinary arts organization, founded in 1993 by Guillermo Gómez-Peña, Roberto Sifuentes, and Nola Mariano in California.The objective was to formally conceptualize Gómez-Peña's collaborations with other performance artists. Radical politics, autobiographical material, 'reverse anthropology' and parodic traces of traditional media broadcasts comprise the content of this legendary video art piece its finished product was later distributed by Video Data Bank. ![]() This live satellite transmission, interrupting the nightly news in an act of guerrilla television, presented the artist as a post-NAFTA Cyber-Aztec pirate who commandeered a commercial TV signal from his underground 'Vato bunker', where virtual reality meets border art in a collage of footage ranging from home movies, excerpts of earlier Gómez-Peña performances, Mexican 'B' movies, etc. ![]() Outtakes of the actual live satellite transmission of Gómez-Peña's pirate TV broadcast 'El Naftazteca: Cyber-Aztec TV for 2000 AD'.
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