BY ANDREW FISHI’m still running iOS 5, which means I have ad-free YouTube, native Google Maps, and a smartphone experience that’s more like playing with bubbles than sifting through index cards — which would you rather do? It also means my outdated phone isn’t compatible with many of the latest apps and I wasn’t going to be able to use it at Serj Tankian’s multimedia exhibit, Disarming Time, last month, which required iOS 6 or higher to experience his latest piece of innovation: an art show where each painting is intertwined with a piece of music. Though I refused to budge on my increasingly irrational anti-update stance, I was determined to fully experience the event that had gathered this eclectic crowd. You know something interesting is going on when Tom Morello, Moby, and Richard Dekmejian, a world expert on the history of genocide, are all in the same room.
So I promised my friend an enormous sandwich at Fat Sal’s if he would forego the full-immersion element of the show and lend me his iPhone (that was no longer compatible with his snap-on charger since his iOS 7 upgrade, which, I felt, further validated my decision to live in the past). Upon our arrival at the bustling Project Gallery in Hollywood, however, he’d realized he had forgotten his new iTunes password and sat down to figure it out. Luckily, I’d brought a backup friend. This one had a rickety Android with 20% battery life that couldn’t handle multimedia texts, which he handed to me with a gracious, hopeless smile. I downloaded the app, plugged my iPhone headset into the foreign device, and with childlike faith aimed the camera at a painting.
A sound crept in, smooth and low, and the clamor of 100 conversations melted away until all that remained was the painting, the music, and me. The back-up friend was definitely getting the sandwich. Once “Space Clock (Green)” — a burst of emerald shades, quicksand-like enveloping a handless clock — had taken me with a softly wandering beat, I moved on to “Space Clock (Blue),” which mirrored the previous with the addition of what I can only describe as audible snowflakes, or maybe stars. Nearly all of the 22 multimedia pieces featured deconstructed clocks surrounded by color and abstract shape, with companion musical compositions that varied as wildly as the moods and hues of the respective paintings. “Timeless” and “Self Portrait” were fast and fun, “Grieving Banner” evoked a jarring sadness, and I found myself at their mercy. Continue reading