"I love you - computer_viruses_hacker_culture", digitalcraft´s exhibition on computer viruses will be presented at this year´s transmediale.03 (31.01.2003 - 06.02.2003) at the "Haus der Kulturen der Welt" in Berlin. After its first public showing at the Museum of Applied Arts Frankfurt in May/ June 2002, "I love you" has been thematically augmented for the transmediale.03. The complete catalogue to "I love you" can also be seen online here."
"THE FAULTLESS is an undead metaphor floating in pirate waters, singing digital punk rock karaoke remixes of songs written by punk bands that jonCates was in during his teenage years in the 1980s. This one man skeleton of a digital punk rock show crashes computer systems while screaming lyrics from political texts that analyze fascism, totalitarianism and nostalgia. THE FAULTLESS celebrates pirates, piracy, broken codes and dirty new media. THE FAULTLESS' multimedia performances combine electro and digital punk errorism, channeling the zeitgeist of mid 1990's Digital Hardcore through various punk rock personal hystories. If "Punk is not Dead!" then THE FAULTLESS lives by the motto "Pink is not Red!"
"N3krozoft Mord live video + hardcore rap performance at Gallery A0, Geneva, May 2003. Feat. MC Nikantgoo + Makabr (La Momie). Live visuals by N3krozoft video engineers making use of nato.0+55 and custom electronics."
"The spectacle is permanent. The importance of aesthetics still makes a very beautiful subject for pleasantries after drinking. We are leaving the cinema. The scandal is only too legitimate. I will never give explanations. Now you are all alone with our secrets. AT THE ORIGIN OF A NEW BEAUTY and later in the great liquid desert and limited to l'allee des Cygnes [the Boulevard of Swans] (all of the arts are mediocre games and change nothing) its face was discovered for the first time in this infancy that it calls its life. The specific conditions of the cinema permit the interruption of the anecdote by masses of empty silence. All the perfumes of Arabia. L'Aube de Villennes. AT THE ORIGIN OF A NEW BEAUTY. But it will no longer be in question. All of this isn't truly interesting. It is a question of losing oneself. GUY-ERNEST DEBORD
(Published in Internationale Lettriste #2, February 1953. Translated from the French by NOT BORED!)"
Paranormal Mechanisms: Glitchcraft - Carl Diehl (Saturday, April 14, 2007) "Bewitched by neologistics, I turn to my dictionary because it is chock full of spells. I wanted to explore the trajectories (real and imagined) latent in 'glitch'. Beyond slippage which is the essence of glitch...I want to slide further afield, to probe the alledged associations with the US space program.
Glitchcraft is crafty for all its possible lines of flight. A neologism hovering betwixt 'n' between meanings, a proto-theory object with trails of attention glimpsed in a simple google search. Despite some alluring leads from google, I will attempt to lead glitchcraft further astray. The gremlin, if we recall (how could we forget?) is a mischievious cryptid infamous for erring aeroplanes in WWII. Today the gremlin can be retrofit with the title of blobsquatch in the expanded field. The gremlin is adept at crafting glitches for all manner of vehicle or vessel used for transportation. In other words, the gremlin is good at glitching craft--aircraft, spacecraft, timecraft. Timecraft being a time machine in the sci-fi sense, or time-machine in the VCR sense. Time-based art inherently involves travelling through time. Circuit-bending, or blobsquatchery in the expanded field, is timecraft but also a means of transforming everyday electronics into glitchcraft. Vessels for exploring new worlds. Or, an art of the creative short-circuit. And a process associated with wizardry and witches. Glitches as familiars ready at the glitchcrafter's side. A muse, a spirit for further beglitching."
"The work consists of a Free Software GameBoy emulator whose rendering system has been (pathologically) rewritten to degenerate over time. Game entities mutate into background and interface elements, or appear as fragments of the games binary code. Text begins to emerge as a jumble of characters, sprites and binary data. Scanline bytes are miscopied, transformed and duplicated. Memory is blitted into sections of the screen, as the inside of the game seeps to the outside. Variations in the rendering behaviour are triggered by user interactions implicit in the game play and are manipulated by a Cellular Automata 'metabolism' giving rise to inter-related rendering symptoms. The emulator displays an unpredictable agency that injects a subjectifying process into the rendering of the software instructions it executes.
Code as readymade/open source as network
As software, the emulator is provided as open source code available for others to extend; the binary, source and documentation can be considered as component parts of the work. Thanks to Gilgamesh and Laguna for releasing their Free Software 'gnuboy' from which this modification is derived. Rather than a project that has been written from scratch, the code in this sense may be considered a 'readymade' into which an artistic intervention has been made. The recast code exists as a dysfunctional branch of the gnuboy emulator's project tree and in this sense may be considered as arising from the activity of a network of authors.The interventions in the code have been documented and commented, allowing for others to add their own attitudinal elements and rendering ailments.
Domains of the image-the generative image
From post-structuralism we have known for a long time that the image is not a self contained entity, with a fixed meaning, but rather a network of tendencies (a text), that is fluid, whose meaning derives from its context. Our concern lies with the overlap of language (image codes in the semiotic sense) with the possibilities offered by written code (software).
The project is proposed as a special class of image, able to integrate unexpected metaphors, image codes, interactivity, multiple (and sometimes unknowing) authors and software processes, and may be described as a semi-autonomous instrument or generative image, productive of all manner unexpected conjunctions, movements and image outputs."
"the constant surrender to interrupted line interlacings (caused by failed calculations) and the remaining reality - codes comprising columns of figures or words apparently found coincidentally - give this symbiosis a symbolic character. the raging rythm of the geometry of renate oblaks video images and the furious fragments of sound in michael pinters music refuse to reproduce (or distort) the visible world; confronting us instead with their own intense, artificial and seemingly technoid realm." - from "Euroscreen21" (2003) http://euroscreen.ba-no.de/works/works.html
"reMI (AT) is a duo consisting of Renate Oblak, visuals, and Michael Pinter, sound. Their work has been called 'music videos for the knowledgeable' and is very radical in the way it combines the nature of the material, using the gaps in between signals. It is the directness of its effect which creates its iconic power." - from Sonic Light (2003) www.sonicacts.com/03/performances/performancesart.html
Sunrise Over Baghdad is a brutal and wry take on life during wartime. As our royal families play war games with human playing-pieces, we sit at home twitching our trigger fingers.
Sunrise Over Baghdad is from Dialed In, a suite of audiovisual compositions that Previte and Bainbridge perform in concert, triggering a/v samples with drum pads, game controllers and computers. Dialed In, the DVD, will be released in 2008."
"This collaboration between Jon Vaughn (audio) and Carrie Gates (video) is an intimate, yet risky, dynamic, and colourful presentation of live video and audio mixing using "no-input" techniques. The audio and video are created live, without using any external sources, such as cameras, microphones, or source tapes and CDs. The audio and video affect one another in surprising ways, but the intensity of the matrices of the complex feedback system are carefully controlled through delicate physical interactions with the machines. Aesthetically, the work pulsates with both human warmth and mechanical error-surfing, creating a sort of psychedelic, synaesthetic effect that hypnotizes viewers in a new world of relationships that are at once alien, but also suggestive of the secret micro-world of electricity and its fluid interactions behind everyday phenomena."
SCREENFULL - jimpunk and abe linkoln (2004 - 2006) "SCREENFULL by jimpunk and abe linkoln transforms the "blog" into the "screenfull stadium rock net.art" show. threatening to crash browsers and appropriating any and all references that connect to extend from this blog. SCREENFULL exists as a playful remix on blogging itself, looping feedback through networks and indicating the prolific possibilities for web-based new media projects."
triptych.tv - jimpunk, abe linkoln + mr tamale (2008) "triptych.tv is a collaborative project by jimpunk, abe linkoln and mr tamale /2007-2008"
"Antonio Mendoza, Jimpunk and Abe Linkoln started the triptych.tv project. It seems a dadaist collection of microvideo, the result is amazing, it’s a real contemporary junkspace, you can see everything presented much more faster than TV. The structure is like a blog, but each piece is a microvideo to be seen in the contest of all the page."
Progressing from 8-bit/pixel art projects, we are moving onto re-hash work from the dot-come era. Triptych is data overload. Triptych is too much of a bad thing is a good thing. Triptych is de-construction with neither instruction nor construction. Triptych is your Triple-A journey to nowhere."
Manifest Destiny by Idiot Savant living in Linz, i am listening to FM4 alot b/c i love their programming + they have programs in English + Deutsch. 01 of the tracks they have on heavy rotation is Manifest Destiny by Idiot Savant which i also love so today i found Idiot Savant on MySpace + found that they are from Cleveland (!) + they have released their album for free download:
Dirty New Media: Art Activism and Computer Counter Cultures - Jake Elliott (July 2008)
"A talk by Jake Elliott from "The Last Hope" - Hackers on Planet Earth 2008. This talk presents a short history of electronic art by illustrating connections between artists, activists, and hackers. The connections and histories presented include: the demoscene and its origins in software piracy; video and conceptual artists in the 1970s and their activist work; contemporary artists working with circuit bending and other detournements of modern technologies; the Chicago “dirty new media” community; contemporary artists, hackers, and activists creating software and electronic art with a punk/anticapitalist ethos. Excerpts of work from these different artists and communities are screened and discussed. http://dai5ychain.net/jake/http://criticalartware.net/http://4rtcr4x0rz.com/"
today in my new Second Life on Help Island
today, as i was living my new Second Life + working on my Second Life Sky Studies on Help Island, i experienced a few endearing moments...
00. this 1rst moment is'nt so much endearing as just aweSum: i put on a metal-cyber-dragon-armor w/a jetpack that i found in the Freebies on Help Island
01. i encountered a collection of artworks on exhibit in the "demo area" which represented multiple galleries in SL. i found my self standing in front of piece trying to decide how to feel about it + how to emote that feeling. i felt alone so i practiced a few different responses to the work using Gestures. i think Muscle was the most accurate in communicating how i was feeling
02. i wasn't alone in the "demo area" while i was in the SL art exhibit, another noob was there + he asked me how to get his hair back b/c he had detached it from his head :)
03. i saw a UFO in the sky while filming my Second Life Sky Studies. i think it was the other noob's hair. it had grown to a terrible monstrous size once he had detached it + it seemed to have a will of it's own. but i could be projecting, these are all fantasy machines anyways right?
04. i was about to click the link to leave Help Island when the advice that 01 cannot return to Help Island sank in a little too close for comfort so i didn't click it. instead i went for a walk + found this nice place to sit + look@ the sky underneath a single weeping willow. earlier in the day i had been on a RL walk thinking about weeping willows so it was heartwarming to encounter 01 in SL. also the view from there was great + i was able to film more Second Life Sky Studies before leaving
05. on leaving Help Island i stood in SL in front of a "Willkommen" sign as i sat in RL in Linz, Austria
06. after i left i also encountered another SL art exhibition. this exhibition was the work of Cae Sands which are soft landscapes + abstractions that seem to follow natural forms. i felt like this was a good indicator that i am on an appropriate path w/my Second Life Sky Studies as they are also SL-specific (abstracted) landscapes (skyscapes) albeit in a different direction that Cae Sands' style of SL-specific art
Second Life Sky Studiesyesterday i started a new project, Second Life Sky Studies. this is a web-based video/new media art project that looks @ the skyscapes of Second Life. this project is also part of my ongoing development of metamachinima, machinima about machinima. Second Life Sky Studies will also autobiographically accompany my new Second Life, w/my new account "Theoretical Magic" which i will occasionally be posting about here.
on today's continued indirect path of the AT-AT, i found this documentation, what the creator calls a "video-only walkthrough" of the NES game of Star Wars: The Empire Strikes Back. the documentation is great + i love the idea of a "video-only walkthrough". listening to the soundtrack of this video + the others in this series, i realize it is literally what i aspire to in terms of sum of my music/noise making...
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Transport error (#1001)
yesterday while trying to confirm the friend request of artist Brad Brace on Facebook:
i repeatedly encountered this error, entitled "Transport error (#1001)":
"The Furtherfield Blog is a shared space for personal reflections on Media Art practice: making it, curating it, translating it.
This multi-blog is a place to intuitively explore media arts practice, together, as it occurs, to develop understanding and to learn, without any pressure to formulate complete arguments or to come up with answers. The blog was set up in Autumn 2006, initially as a place for informal, day to day exchange between members of the Furtherfield.org team, including editors/reviewers. The team discovered that this format suited some people more than others and are now open to new contributors. The Furtherfield blog is not intended as a platform to promote particular projects. Instead bloggers explore their own perspectives on their own terms; personal thoughts, emotional responses and critical intentions that are rarely publicly discussed elsewhere in such detail."
i was recently interviewed by Haoyan of America & Sara Ludy for the facsimile magazine project
this is issue # 7 "July 2008 - Facsimile Magazine Summertime Technotopia" which addresses the 'technological' from various perspectives. in the interview i talk about Media Art Histories, a number of my collaborative + individual art projects, hypercubes + what it might mean to call myself a digitalPunk while making (what i consider to be) jokes by extensively quoting the Jargon File :)
if that sounds interesting you'll prolly also appreciate the other material in the issue which includes an Adventure Game by Colin Adams, articles on Ada Lovelace, cyberArt, paleofutures + other great suchness
below is the announcement + link to the interview
----------------------------- hello friends of facsimile, this month at facsimile we welcome the summer with a toast to technology...
adventure game by colin adams the jon cates facsimile by haoyan of america and sara ludy ada lovelace by rachel thomas kinoautomat by ian willoughby sounds, shapes, future civilizations the google labs aptitude test towards a thinking machine by edward ihnatowicz evolution of technotopia generated imagery pop goes the chechen by brendan threadgill trouble with the new sector by frisbee jackson the future of the future is still the future by justin lee
"Announcing the DMAX Blog"
From: dmax To: email@example.com Date: Tue, 8 Jul 2008 15:36:40 -0700 Subject: [dmax_open] Announcing (New) Media Art Blog
Announcing the DMAX Blog http://dmax.bampfa.berkeley.edu/blog
As an epicenter of the digital revolution, the San Francisco Bay Area is a buzzing hive of constant activity and energy around digital culture and art made possible by technological innovation. A critical feedback forum contributes to a thriving, evolving and intellectually playful cultural community. For this reason, the Berkeley Art Museum/ Pacific Film Archive's Digital Media Art Access and Exhibitions program (DMAX) and the UC Berkeley Center for New Media (BCNM) are hosting such a critical forum - in the form of the new DMAX blog - to sustain our community of thinkers.
This blog has a loose and flexible focus on: Bay Area regional / digital / art and culture. The regional focus supports a geo-physical community of familiar faces. The broad digital culture focus reflects the fact that this community spans many professional fields, creating a need for a different kind of apparatus from the traditional academic or art review.
Serving as a civic cultural forum for this broad and diverse community is a natural role for a public museum and a public university. In this spirit, this blog will not limit the public to behind-the-scenes comments, but will be open to public participation at all levels (top- level posts, comments, events) in addition to featuring bloggers drawn from the DMAX and BCNM programs. The DMAX Blog provides our community with a gathering place to let each other know what's going on, what people think, and what's next. Welcome home!
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DO NOT click "Rebuild" if you are running Mail 2.1.3 in Mac OS 10.4.11 + you run into troubles w/yr Mail.app email client DO NOT click "Rebuild" + think that anyThin helpful will happen, b/c i can tell you, it will _NOT_ be good. Mail.app just purged 2 months of my sent mail + it is rly unrecoverable b/c my last functional backUp was 2 months ago. the img above shows my current Sent mailbox minus about 2 other emails. i have yet to Import from the previous backUp from 2 months ago
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(Film, Video and New Media department at The School of The Art Institute of Chicago; New Media Art Histories; Art Games + Independent Gaming Cultures; Open Source, Artware + early Video Art; Computer Witchcraft + Majikal Media Art)