Teen Age Riot - Sonic Youth (1988)

Teen Age Riot - Sonic Youth (1988)

Bad Moon Rising - Creedence Clearwater Revival (1969)

Bad Moon Rising - Creedence Clearwater Revival (1969)

Kill Surf City - The Jesus and Mary Chain (1987)

Kill Surf City - The Jesus and Mary Chain (1987)

Paint It Black - Rolling Stones (1966)

Paint It Black - Rolling Stones (1966)

The Killing Moon - Echo and The Bunnymen (1984)

The Killing Moon - Echo and The Bunnymen (1984)

People Are Strange - The Doors (1967)

People Are Strange - The Doors (1967)

David Vondle demos openFrameworks at dorkbot Chicago on November 19th 2009!

Note: dorkbot is on the 19th this month, not the last thursday as usual.



Chicago-based interaction designer and hacker David Vondle will walk us through openFrameworks with an eye toward its use in computer vision, people tracking and multitouch, and also touch on electronic prototyping for digital experiences.

Openframeworks is a c++ library designed to assist the creative process by providing a simple and intuitive framework for experimentation.

The library is designed to work as a general purpose glue, and wraps together several commonly used libraries under a tidy interface: openGL for graphics, rtAudio for audio input and output, freeType for fonts,freeImage for image input and output, quicktime for video playing and sequence grabbing.

DATE:

Thursday November 19th 2009

TIME:

7 PM

LOCATION:

Enemy Sound
1550 N. Milwaukee Ave 3rd Fl.
Chicago, IL 60622
http://www.enemysound.com

COST:

FREE

WTF:

What is a "dorkbot"?! The idea of the international dorkbot network is "people doing strange things with electricity" and meeting in informal, friendly environments to discuss their projects. These projects could include hardware hacks, New Media Art projects, creative code, circuit bent musical instruments or wild DIY garage science!

Volcano - Anti-Pop Consortium (2009)

Volcano - Anti-Pop Consortium (2009)

Glitch: Investigations into the New Ecology of the Digital Age

Glitch: Investigations into the New Ecology of the Digital Age
Curated by Nick Briz

jonCates + Jon Satrom in person!

Monday, November 9, 2009
6.00-8:00pm, FREE and Open to the Public
Flaxman Theater (room MC1307), 112 S. Michigan Ave
The School of the Art Institute of Chicago

"The genre [of glitch] has no recognizable center. No handle. It keeps moving, shape shifting. It blurs when it’s recognized and then only sharpens for brief periods. It is not a genre so much as a tactic for subversion that has become a fashion statement.” - Kim Cascone

Glitch art is aetheticized and fetishized technological [human] errors or anticipated accidents that can produce unintended [desired] results. It functions as a microcosm for new media art, forgrounding a critical relationship to the digital culture in which we find ourselves mired. This program initiates a conversation between glitch artists from all over the world with common concerns. These artists demonstrate the diversity of ways in which glitch can be used to address pertinent issues within digital culture, and in culture at large.

The artists in this program take the otherwise irritable and undesirable erroneous occurrences and malfunctions and embrace them as form. In their practice, as well as in many of their writings and research, errors and bugs are reshaped at times into elegant painterly digitalism, at others into a poetic and essayistic discourse, and often into spastic abrasive assaults of visual/audible noise. These works critically address issues of time, deconstruction, memory, and chance with regards to society’s relationship with technology. They attack the media systems that have been assimilated by popular culture and subvert the slick, sterile, and seemingly perfect surface of technologies propagated by special interests.

Glitch lends itself to pedagogy as much as it serves as a ruse to traditional modes of artistic instruction that codify random acts of creativity. Thus, glitch art is not exclusively technical: the most basic methods utilized by glitch artists can be easily taught, learnt and executed. Methods such as datamoshing and wordpad glitching have opened a potentially democratic space for conceptually and aesthetically exploring our amorphous identities in our new digital ecology.

As technology exponentially evolves and naturally occurring ‘glitches’ are being phased out, the natural aesthetics of digital technology are at risk of obsolescence. A mutual threat is currently being posed between the new technologies/upgrades which seek to nullify glitches and the glitches which attempt to expose these technologies/imposed systems. This program is an attempt to address this threat and generate dialogue about the critical importance and potential of glitch." - Nick Briz

Artists included:

Achim Stromberger
Evan Meaney
Jimmy Joe Roche
Johnny Rogers
jonCates
Jon Satrom
Karl Klomp
Nick Briz
Nick Salvatore
Rosa Menkman
Takeshi Murata
and Tatjana Marusic.

trt. approx 80 mins

The Eye & Ear Clinic is a free bi-weekly film series run by SAIC graduate students in Film, Video and New Media; Art History, Theory, and Criticism; and Arts Administration and Policy. Contact us at eyeandearclinic@gmail.com and be our friend on Facebook!

openness: jonCates on Wednesday November 4th 2009

openness: experimental New Media Art & Media Art Histories

jonCates
Assistant Professor
Film, Video & New Media

Public Presentation at The School of the Art Institute of Chicago
112 S Michigan, room 1307
Chicago, IL .US

Wednesday November 4th 2009

4:30 PM

jonCates presents on experimental New Media Art and Media Art Histories in this public presentation. jonCates makes, organizes and teaches experimental New Media Art. His projects have been presented internationally at various events in locations such as Beijing, Madrid and Mexico City; nationally in Chicago, New York and Boston and are widely distributed online. jonCates teaches in the New Media path of study of the Film, Video & New Media Department at The School of the Art Institute of Chicago. His research and writings are on Media Art Histories and related subjects. In 2007, he initiated the Phil Morton Memorial Research Archive to archive and freely distribute the Media Art work of Phil Morton and associated research. He writes on these topics for Furtherfield.org as well as in other online and offline publications.

54MPL3 0UR080R05 (1337 MODE INDEXED) - jonCates && Jake Elliott (2012 - 2007)

54MPL3 0UR080R05 (1337 MODE INDEXED) - jonCates && Jake Elliott (2012 - 2007) from joncates on Vimeo.

54MPL3 0UR080R05 (1337 MODE INDEXED) - jonCates && Jake Elliott (2012 - 2007)

Games For Days - Julian Plenti (2009)

Games For Days - Julian Plenti (2009)

Carl Sagan - 'A Glorious Dawn' ft Stephen Hawking (Cosmos Remixed) - John Boswell (2009)

Carl Sagan - 'A Glorious Dawn' ft Stephen Hawking (Cosmos Remixed) - John Boswell (2009)

Nina Wenhart on Media Art Histories!

The Upgrade! Chicago presents: Nina Wenhart on Media Art Histories!

Austrian artist and Media Art Historian, Nina Wenhart presents her latest research in this free Upgrade! Chicago event at The Nightingale in Chicago.

ARS ELECTRONICA: re:shaping a city's cultural identity
Nina Wenhart

Wednesday, October 21st, 2009

8 pm

The Nightingale
1084 N Milwaukee
Chicago, IL 60622

FREE

ARS ELECTRONICA: re:shaping a city's cultural identity

30 years ago the first Ars Electronica festival took place in Linz, Austria. Ars has grown to be one of the most influential Media Art festivals and centers in the world. But while much has been written about it, and still more will be talked about its history when Ars celebrates its 30th anniversary in 2009, there has not yet been a comprehensive study about Ars Electronica's influence on the local community and its impact on the cultural development of Linz. This paper investigates the socio-cultural, artistic and geographic traces Ars Electronica has left on the city of Linz. This Media Art historical account also details a very personal history, as the author, being four years old at the time of the first festival and amazed by its fireworks display, remembers the festival's beginnings from her personal experience and – having worked for Ars Electronica's Futurelab for many years - from a professional perspective as well.

The main question of this talk is how the then marginal field of art, science and technology, placed in an even more marginal, working-class and steel-producing city contributed greatly to the creation/development of a new cultural identity of the city, the art scene and the community as a whole. My investigation into the histories of this cultural institution focuses on the regional impact, regional being interpreted as geographically located/rooted as well as interpersonally built.

BIO

Nina Wenhart is an instructor for the „Prehystories of New Media“ class at the School of the Art Institute of Chicago and an independent artist/researcher. She is a graduate student at Prof. Oliver Grau's Media Art Histories program at the Danube University in Krems. For many years, she was the head of the Ars Electronica Futurelab's videostudio, where she created their archives and primarily worked with the historical material. She was four years old, when Ars Electronica started and has stayed connected with it ever since.