jonCates

Lindsay Howard! NOV 4 @ SAIC in CHI IL USA

2011-11-01T08:59:00.000-05:00

Lindsay Howard!
in person
Director of 319 SCHOLES

ROOM 315 on the 3rd FL of the 112 S. Michigan Building

NOV 4 2011
4:30 PM
FREE

Lindsay Howard, contemporary New Media Art curator, is the Director of 319 SCHOLES in NYC. 319 SCHOLES is one of the most important young spaces for New Media Art now in NYC. Her recent curatorial work includes the exhibition DUMP IRL, the AWARENESS OF EVERYTHING (part of the international SPEED SHOW series/platform) and Wallpapers, an exhibition by New Media Artists Nicolas Sassoon and Sara Ludy (a recent alum of FVNMA and SAIC). Howard will discuss these and other curatorial experiences, giving examples of recent projects in order to open a conversation on curating New Media Art:

http://lindsayhoward.net

The Eye & Ear Cinic is a free film series, open to the public, run by graduate students at the School of the Art Institute of Chicago. Works screened include films from the Flaxman Library Archive, works by students and school faculty, and selections from the Video Data Bank, as well as aquisitions from outside sources. Screenings take place at the School of the Art Institute of Chicago:

http://eyeandearclinic.net

The Eye & Ear Clinic is made possible by the Dean's Office, Student Associations and the Department of
Film, Video, New Media and Animation:

http://vimeo.com/channels/saicfvnma

BYOB Chicago: jonCates, Digital Arts Collector - jonCates (2011)

2011-10-27T06:55:00.000-05:00

jonCates, Digital Arts Collector - jonCates (2011)

TITLE: jonCates, Digital Arts Collector

ARTIST: jonCates

MEDIUM: Business Cards, Sobriety, Self-Projection through conversations

DATE: 2011/10/18

TIME: 7 - 8 PM

SITE: Museum of Contemporary Art Chicago

CONTEXT: BYOB (Bring Your Own Beamer) Chicago: http://www.byobworldwide.com

DESCRIPTION/DOCUMENTATION:

in the performance/projection "jonCates, Digital Arts Collector" i had same day Business Cards (1) printed which read:

jonCates

Digital Arts Collector

INSTITVTE FOR THE ANIMATED GIF

jonCates, Founder && Archivist

Special Collections department

instanigif.tumblr.com

the Business Card feels to me like an old-fashioned format for interpersonal interactions, like an antique form of communication or rather (self) promotion from an earlier era. at a recent conference (2) i was often asked for my business card (which i do not normally carry or even maintain current versions of) and presented w/a range of business cards from academics and artists. i found receiving these cards both novel and strange. this experience combined w/my invitation to participate in this most recent BYOB Chicago iteration of the ongoing series/platform. the BYOB Worldwide project initiated by Rafaël Rozendaal relies on Salon-style 'hanging' of the projections, social networks and networking and recent Web 2.0 technologies/platforms (such as tumblr, which the BYOB Worldwide site exists on and through). this intersection of very recent technologies and the turn of the second to last century approaches (late 1800's/early 1900's Academic Art exhibition formats) strikes me as similarly novel and strange, like business cards from New Media Artists and academics

Charles X assists artists at the Salon exposition in 1824 - Francois Joseph Heim (1827)

BYOB Chicago .gif - Brian Khek (2011)

as i entered the Museum of Contemporary Art Chicago's (MCA) Wolfgang Puck Cafe, where the BYOB (Bring Your Own Beamer) Chicago event occurred, i engaged in conversations during which i presented this card. my script began w/the statement "i don't think you have my business card, in fact, i know you dont b/c it's brand new!" then i would present my new business card and ask the artists (if they were participating artists in the BYOB Chicago event) which was their work and if it was for sale. if they said yes, that it was for sale, i pursued negotiations w/them

BYOB Chicago at The Museum of Contemporary Art Chicago (Facebook photos) - Bea Fremderman (2011)

the conversations i engaged in began w/Hunter Husar and Bea Fremderman who were standing together as i entered the space. Hunter (whois an old friend whom i went to highschool w/and spent time skating w/in the 1980's) informed me that the beer cost 666. i went towards the beer but didnt intend to drink, only to mix w/other for my performance/projection of identity b/c as is listed in the "medium" my sobriety was a material i was working w/in this project

Sarah Weis (Facebook photo) and still image from Animated GIF Digital Art work "ink_levels10-18.gif"

i next engaged Sarah Weis, whose work in BYOB Chicago was in fact my favorite projection in the event. Sarah's work was an Animated GIF based on screen shots of low ink alerts from a printer at i^3 hypermedia in Chicago, where Sarah is Creative Director. Sarah was also dressed to match her Animated GIF w/her outfit corresponding to CMYK. Sarah expressed that her Animated GIF was in fact for sale and that it was part of a series which may be ongoing, potentially extending on indefinitely as a process. we then discussed the correct pronunciation of "GIF" b/c as Sarah explained she wanted to hear my opinion as an expert on Animated GIFs :)

i next engaged Chelsey Hoff and her brother. our conversation quickly turned to Artificial Intelligence research

Nick Briz and i then spoke as i performed my self-projection. Nick stated that his work was for sale and that it was especially designed for this event. Nick also told me that the water from the Cafe was free

Nick and i were joined by my old friends and former collaborators Mark Beasley and Jon Satrom. both Mark and Jon encouraged by performance/projection, performing themselves as new aquiantences, as if we had just met. this allowed me to extend my performance/projection further, improvising details of the Special Collections branch of the INSTITVTE FOR THE ANIMATED GIF, which i founded in 1996. i explained that as a Digital Arts Collector, i was about to publicly open this formerly private/personal collection which i have archived since 1996. when asked if their work was for sale, Mark replied yes, while Satrom replied that his device (a microfische reader) was not for sale, but that the print was. Mark set a price of 1337. Satrom stated that his work was in a quality of 600 DPI and that the price of the print was negotiable

Elisa Harkins (who i had briefly spoken w/and presented my performance/projection to earlier) and Thorne Brandt then approached me. i engaged them both in my performance/projection. altho i have known Elisa (since the early 2000's when we were co-organizers of events including the Version > Festivals at The Museum of Contemporary Art Chicago) and Thorne (since the mid-2000's when we has a student of mine in Film, Video, New Media & Animation department at The School of the Art Institute of Chicago) i am unsure as to the ways in which they were relating to my performance/projection as both seemed to engage my performance/projection w/simultaneous curiosity, distance and sincere interest in the sale of Thorne's work. Thorne's work in BYOB Chicago was impressively projected in HD, taking up the entire space above the Cafe's sales counter. when asked Thorne repeated Elisa's quote that his Animated GIF work was in fact for sale at a price of $50 for a Blu-Ray DVD. Thorne also explained that i would be buying 'today's export' w/new hand drawn content just added in advance of the event. Elisa added that the work, which is deeply layered, functions as a diary

Manuel Buerger (designer of the DIGITAL FOLKLORE Reader edited by Olia Lialina & Dragan Espenschied) then approached me and we began talking. Manuel had been previously introduced to me by our mutual friend ARAM Bartholl (initiator of the SPEED SHOW series/platform of international New Media Art events which directly influenced/inspired the BYOB Worldwide series/platform) online via email. while we spoke, Manuel asked me what my work in the BYOB Chicago event was and i delivered my lines which i had rehearsed earlier: "my projection is online. and it's a projection into the future! it hasn't happened yet, but don't worry, it _will_ happen :)" at which time i presented Manuel w/my business card and explained that i was proposing to buy works that were currently being shown in the BYOB Chicago event. Manuel appeared to understand the intent of my projection and asked if i thought any works had actually been sold from a BYOB Worldwide to which i replied i don't know but that Rafaël Rozendaal (initiator of the BYOB Worldwide series/platform) has certainly 'opened new markets for ppl such as myself, who collect Digital Art'

soon MCA Security began to announce that MCA was closing and that everyone would have to leave. artists and organizers were alrdy packing up and breaking down the event. final photos and video documentation were being taken. i became aware that i had mostly been active w/my projection on the stage right side (upon entering the Cafe from the main MCA entrance) of the exhibition. i suspect that most of the more critically oriented works were in this section but this is due to spending almost all of my time on this side of the exhibition, the side on which, admittedly, my old friends and former collaborators were exhibiting on. i felt a sense of anxiety/disappointment in not having been able to have performed/projected w/all of the participating artists as i saw Louis Doulas packing up and breaking down his projector

Theo Darst's business card (documented by jonCates) - Theo Darst (2011)

Theo Darst, also exhibiting in this area of BYOB Chicago, came over to me to say hello and goodbye. i quickly performed/projected myself for Theo and he reflected my projection back to me, handing me his business card while telling me he was 'all about branding' and that he had alrdy been approached by the curator of the MCA in regards to his projection in BYOB Chicago but that he would still consider giving me an insiders deal, negotiating a sale directly w/me, w/out involving his gallery or dealer. i thanked him sincerely and told him that i would be in touch

before leaving i quickly checked in w/Eric Fleischauer (co-creator of twohundredfiftysixcolors) and Andrew Rosinski (of DINCA.org), expressing my interest in purchasing their projections

as i left i said goodbye and thnx to Brian Khek (organizer of this BYOB Chicago event) who was standing w/Micah Schippa. i quickly presented my performance/projection to both of them before leaving, leaving them both w/copies of my business card and promises of future future projections which are as Brian said "very meta"

BYOB kulturalKapital - jonCates (2011)

all artists above have now been contacted in regards to the negotiations for purchase of their projections and sent infinite Cultural Capital in the form/format of my certificate/cultural currency, the BYOB_kulturalKapital.PDF as pictured here in the GIF format

jonCates

CHICAGO, 2011

COPY-IT-RIGHT

1. same day Business Cards are actually now difficult to order, a situation i did not expect to encounter downtown in Chicago. i made 2 orders, 1rst from FDS Chicago then from alphagraphics, neither of whom replied to my email orders. so i went to Staples and asked. the woman working explained that their system was broken and i explained that what i needed was exceedingly simple. she helped me to print a small run (of 50) and in the end didnt even charge me. i had prepared myself to pay at least $100 for the earlier orders and so i was super happy/enthusiastic to have these business cards for free and outside of commodity exchange.

2. Rewire, the Media Art Histories conference in Liverpool held at John Moores University, organized by FACT (Foundation for Art and Creative Technology), 2011: http://www.mediaarthistory.org

3. "twohundredfiftysixcolors is a 16mm film that traces the arc of increased complexity and pointed use of the animated gif... Curating and filming these pixels from the domain of the internet signals a new form of movie making and acknowledges the complexities embedded within these highly compressed files... The film is a curated archive that, when screened in a collective viewing environment as a cinema event, becomes revelatory for discussion, analysis, and conjecture on the animated gif's current location and future trajectory." http://twohundredfiftysixcolors.com

Hypermedia AKA New Media Narratives course by Tirtza Even!

2011-09-06T17:02:00.004-05:00

this course is newly imagined by Tirtza Even + she is dealing w/New Media Narratives in this FVNMA studio course. check the course description below, her work + consider enrolling! contact Tirtza for enrollment permission numbers or more info: teven@saic.edu

Tirtza Even: http://www.tirtzaeven.info

Hypermedia
Tirtza Even
teven@saic.edu
FVNMA 4860 001
TUESDAYS 9 AM - 4 PM
FALL 2011

The course aims to analyze and confront in practice the characteristics of non-linear and interactive narrative, by resorting to models taken from traditional media (literature, video and film, architecture, installation and game playing) as well as from contemporary digital work.
The course explores the various principles underlying non-linear work, such as excess, fragmentation, multiplicity of points of view, erasure, interruption, dialogue. Viewings, readings and critiqued exercises supply means for students to examine issues of navigation in time and space, the placement of the user, interactive and collaborative authoring, open and closed compositions.
The course includes three short term exercises in accordance with the topics demonstrated and discussed in class, class presentations and a final individual project using basic authoring and multimedia tools. No programming experience is necessary.

File Type exhibition - curated by Chaz Evans and Lorelei Stewart (2011)

2011-06-17T14:57:00.001-05:00

http://bit.ly/FILETYPE

File Type

Curated by Chaz Evans and Lorelei Stewart

June 17 - July 30, 2011

Opening reception: June 17, 5-8pm

Mike Andrews | Jon Cates | Channel TWo (Adam Trowbridge + Jessica Westbrook) | Anthony Discenza | Constant Dullaart | Eric Fleischauer | Patrick Lichty | Ei Jane Janet Lin & Miao Jiaxin | Kristin Lucas | Todd Mattei | Jesse McLean | Chris Meerdo | Casey Reas | Steve Ruiz | Siebren Versteeg

The specificity of work in electronic media warrants investigations that refine categories past “the digital” or “the internet.” File Type is an exhibition which analyzes the cultural character of digital file formats such as the .pdf, .tiff, .jpeg etc. These and many other file types contain narratives that give specific bodies to the often invisible entities that construct electronic culture. Formats and file types represent ways that artwork in digital or internet media create particular standards of representation. What is often regarded as the minutiae of computer science have now become the parameters given to cultural agents. Or to put it in different terms, computer science is now a direct player in the construction of cultural identity, intentionally or not.

File Type explores the kinetic relationships that construct a network of electronic exchange. How have file types worked their way into, or in many cases have become, our cultural metaphors? What are the politics of implied aesthetics hidden within file formats that are regarded as transparent? What are the effects of expediency in using different formats in communication and exchange? Or perhaps most importantly what is the relationship between electronic formats and artistic practices, electronic or otherwise? Are these adjuncts and extensions of artistic practice necessarily a breakage from non-electronic media, or are they possibly fluid and interchangeable?

SPEED SHOW CHICAGO: while loop is true

2011-05-05T20:50:00.001-05:00

SPEED SHOW CHICAGO: while loop is true, a set by agoasi on Flickr.

Experimental 3D: new FVNMA class!

2011-05-02T20:19:00.002-05:00

Experimental 3D: new FVNMA class! taught by Wesley Wilson

REGISTER NOW for Experimental 3D, a new FVNMA course taught by Wesley Wilson. as Wes writes: "This class will focus entirely on GAME SPACES. Creating, discussing, exploring, playing them. We will be working with Unity 3D as well as Maya, and I have a lot of tricks up my sleeve that you want. We will also be using experimental Kinect software to do motion capture and 3D scanning"!

Experimental 3D
Wesley Wilson
whiterabbitwww@gmail.com

Experimental 3D
FVNMA 3211 001

MONDAYS
9:00AM - 4:00PM

112 S MICH RM 714

SPEED SHOW Chicago TONITE!

2011-04-27T08:28:00.003-05:00

ARAM has a new www for the SPEED SHOWs:

http://bit.ly/gttRxU

+ tonite we have our 1rst CHI SPEED SHOW! :)

from Berlin ARAM joins us IRL + as is the model of the SPEED SHOWs the announcement of which specific works will be shown only happens @ the exhibition so come out tonite to see new works by: MAX CAPACITY, Christina Kassi, onehalfprince, Whitney Carrier, Sage Keeler, creepysleepovers (Valerie Brewer) with Alex Inglizian, Pall Thayer, Saya Da Jung and Derek Repsch && hear tracks by Farson's Army, Message To The Machine, Strange Powers - MMMMMMMM, Mood Guerilla, Clique Talk, coax, lungbutter, Microseq + MICRO N▲PS!

6 - 8PM (realtimes)

COPYMAX
1321 N Milwaukee Ave
Chicago IL
60622

FREE

// jonCates
SPEED SHOW Chicago curator
http://speedshow.net/speed-show-chicago-while-loop-is-true/

!SPEED SHOW CHICAGO Wednesday April 27th 2011!

2011-04-19T17:15:00.000-05:00

!!!ANNOUNCING:

SPEED SHOW CHICAGO: "while loop is true"
WITH NEW PROJECTS BY: MAX CAPACITY, Christina Kassi, onehalfprince, Whitney Carrier, Sage Keeler, creepysleepovers (Valerie Brewer) with Alex Inglizian, Pall Thayer, Saya Da Jung and Derek Repsch!
Wednesday April 27th 2011
6 PM - 8 PM
FREE!

@

COPYMAX
1321 N Milwaukee Ave
Chicago IL
60622

Berlin-based artist/curator ARAM Bartholl initiated an ongoing series of exhibitions of New Media, Digital + web-based art called SPEED SHOWS. starting in the summer of 2010, SPEED SHOWS have been held in Berlin, Vienna, Amsterdam, Paris, NYC + now Chicago! Chicago’s SPEED SHOW is curated by jonCates:
http://fffff.at/speed-show/

SEE YOU THERE!!!

my MACHINIMA class FALL 2011

2011-04-13T13:02:00.001-05:00

MACHINIMA: EXPERIMENTAL NEW MEDIA ART & GAMES
jonCates
FVNMA 4866
THURSDAYS 9 AM - 4 PM
FALL 2011
FILM, VIDEO, NEW MEDIA & ANIMATION STUDIO COURSE

Machinima literally combines "machine" and "cinema" using computer-based games to develop film and media art. Machinima views video games and game culture as New Media. Video game engines become artistic toolsets and authoring systems allowing artists to use the underlying code structures to create their own media artworks. Students play video games, learn to render artworks in realtime with low cost, commercially available game engines and free and open source software systems, discuss online distribution, and screen machinima artworks.

jonCates is a New Media Artist who makes, curates, collects and teaches experimental Machinima as well as various other Digital Art forms. His projects and programs show widely internationally and online: http://systemsapproach.net

Image include stills from former students' projects. Artists include (clockwise from top left) Valerie Brewer: http://vimeo.com/17665736
Morgan Higby-Flowers: http://morganhigbyflowers.blogspot.com
Melissa Barron: http://www.melissabarron.net
and Nicholas O'Brien: http://doubleunderscore.net

BAD NEW FUTURE CREW djs TONITE @ the GLI.TC/H Afterparty

2010-10-02T14:24:00.001-05:00

BAD NEW FUTURE CREW djs TONITE @ the GLI.TC/H Afterparty (2010.10.02) @ 1824 W.Augusta Blvd 10PM - 2AM: http://gli.tc/h

BAD NEW FUTURE CREW is a D34D GL1TCH DJ crew based in Chicago spinning the bad new future of glitch hop, cybergoth, noise step, old skool EBM, industrial, post-industrial, digital hardcore, rhythmic noise and transformative black metal.

THE FUTURE BELONGS TO GHOSTS: http://badnewfuture.us

Processing.Android: Open Source for Mobile Innovation

2010-09-21T10:04:00.000-05:00

Processing.Android: Open Source for Mobile Innovation
UIC Innovation Center
1240 W Harrison St, Chicago, Illinois 60607
October 1st-3rd, 2010

Processing.Android: Open-Source for Mobile Innovation brings together internationally recognized innovators from the open source software community, Chicago based startup companies, and students and academics from the areas of Art and Design, Computer Science, and Information Sciences. Keynote speakers Ben Fry and Casey Reas present the latest edition of Processing targeting Android devices, designed to simplify and streamline prototyping and development for mobile platforms. Processingis used by tens of thousands of students, artists, designers, researchers, and hobbyists for learning, prototyping, and production. Join us for the first public summit to hold Processing.Android workshops, presentations, and panel discussions. The event is free and open to the public. Workshops require prior registration.

PRESENTATIONS

Casey Reas: Coding with Processing as a Design Practice
Projects created with Processing, an open-source programming environment for visual designers and artists, are used to show the potential of writing custom software as a design methodology. Examples range from dynamic information visualization to art installations to object fabrication.

Ben Fry: Introduction to Processing for Android
The latest edition of the Processing project targets Android devices. Like the desktop version, it's designed for rapid iteration and to streamline how you develop and prototype. In addition, it provides a simple platform for building applications that make use of the affordances of mobile devices — touch input, location and tilt sensors, always-on network access, and portable, high-resolution screens.

Malcolm McCullough: Situated Technologies Too
Mobile communication applications can increase participation in locales. In the what is now called “augmented city,” the dynamics of socially-produced cultural tagging need not be reduced to wayshowing. Fixed accumulations of information often complement mobile technology in this regard. Locative media often increase the importance of others but sometimes make it ambiguous who is a user. At a cognitive level, the workings of attention suggest much more technological emphasis on context. This talk thus invites a broad perspective on embodiment, architecture and the city as complementary counterparts to the fascinations of the personal handheld device.

Daniel Sauter + Jesus Duran: Ketai in Motion
The variety of sensors built in 4th generation mobile devices offer new ways to interact with applications and services. Focusing on motion detection and image processing,Ketai in Motion is a research project that aims at capturing, processing, and interpreting multiple streams or sensory data. The presentation will feature the first release of the Ketai library for processing, and outline future development.

Sjoukje van der Meulen: A Plea for a Critical Approach toward (new) Media in the US
This presentation will discuss the work of the Czech media theorist Vilém Flusser (1920–91). While hardly known in the United States, Flusser's work is of crucial importance for all critical theory - and practice - of media. Flusser both continues the Marxist tradition of German media theory (Walter Benjamin and others) and upgrades that legacy to contemporary media conditions in the footsteps of a Marshall McLuhan. This talk is based on the essay, "Between Benjamin and McLuhan: Vilém Flusser's Media Theory," recently published in the New German Critique (Summer 2010).

Jer Thorp: Processing: From Mac to Mobile
In this wide-ranging presentation, Jer will show a variety of work built in Processing. These projects, built over the last two years, cover a strange terrain - from evolutionary computing to text analysis to interactive toys. He’ll also sneak-peak some new data visualization work from the New York Times R&D Lab, and will discuss the challenges and opportunities that arise from building for a mobile environment with Processing for Android.

Andres Colubri: The Future of OpenGL in Processing
OpenGL is a fundamental technology in the generation of real-time graphics. Recent developments in OpenGL (vertex buffer objects, shading programming, OpenCL) are bringing exciting possibilities such as manipulation of massively complex geometries, interactive non-photorealistic rendering and real-time HD image/video processing. Many of these features are currently being integrated into Processing, both on the Android and PC/Mac platforms. These ongoing developments will be discussed during the presentation.

Julio Obelleiro + Shawn Roske: Cing, Creative coding bridging Processing and C++
This presentation will introduce Cing, an open source library for creative programming which bridges the elegant and intuitive syntax of Processing with the power and flexibility of C++. Cing allows innovative and accessible experimentation with advanced capabilities such as 3D, Physics or Computer Vision. Cing is being developed for use on desktop platforms and it is currently on its first steps towards mobile platforms like the iPhone. Cing is developed by Julio Obelleiro, Jorge Cano and Shawn Roske.

WORKSHOPS (register online)

Ben Fry: Introduction to Processing for Android
This workshop is for people who are familiar with Processing and want to write programs for Android devices with the new Processing for Android. Bring your Android device to get up and running during the workshop. The differences between standard Processing and Processing for Android will be discussed as well as the future of project.

Casey Reas: Introduction to Processing for Programmers
This workshop for intermediate-level programmers (and up) is a brief introduction to using the Processing graphics library and environment. We'll cover how to code 2D and 3D interactive graphics and how to use libraries to extend the base software into other domains. This workshop covers the basics of Processing and assumes the participant understands programming fundamentals from variables to object-oriented techniques.

Daniel Sauter + Jesus Duran: Mobile Devices as Universal Sensors
This workshop focuses on using the Ketai library for processing, allowing to register the native sensors supported by the Android platform. The workshop covers data capture, processing and export via Ketai Motion, and introduces image capture via Ketai Vision. Bring or share your Android device to take full advantage of your mobile phone as universal sensor.

Jer Thorp: Processing.Android for Beginners
One of the key selling points for Processing for Android is ease-of-use. In this workshop, we’ll learn how to quickly produce applications for Android devices. We’ll walk through the basics of setting up Processing to develop for Android, and will create our own interactive sketches to run on devices. BYOA (Bring your own Android).

Andres Colubri: Fast 3D graphics in Processing for Android
The goal of this workshop is to introduce the new 3D renderer of Processing for Android, A3D. This renderer provides all the basic functionality required for three-dimensional graphics (camera, lights, texturing, etc.), following the API found in earlier versions of Processing. A3D also offers many advanced drawing capabilities on Android devices supporting OpenGL ES 1.1, such as offscreen rendering, Vertex Buffer Objects (VBOs), and 3D text. Level: intermediate to advanced. BYOA is highly recomended.

Julio Obelleiro + Jorge Cano + Shawn Roske:
Introducing Cing: Simplifying Advanced Capabilities for Creative Coders
This workshop will introduce the first steps to creating Cing applications. Cing is an open source library for creative programming which bridges the elegant and intuitive syntax of Processing with the power and flexibility of C++. The workshop will showcase how Cing facilitates the use of advanced capabilities through cutting-edge libraries such as: 3D & 2D graphics, Physics Simulation, Computer Vision, Advanced Interactivity, 3D worlds & animations, MIDI and 3D Sound, among others

Panel, moderated by Susan M. Fullman, and Daniel Sauter:
The panel will investigate whether a public university, such as UIC, with a mission that encompasses teaching, research, service and economic development should capitalize on open source platforms as a means to increase cooperation and collaboration with its surrounding community.

BIOs:

Casey Reas is a professor in the Department of Design Media Arts at UCLA and a graduate of the MIT Media Laboratory. Reas’ software has been featured in numerous solo and group exhibitions at museums and galleries in the United States, Europe, and Asia. With Ben Fry, he co-founded Processing in 2001. He is the author of Process Compendium 2004-2010 and co-author of Form+Code in Design, Art, and Architecture(Princeton Architectural Press), Processing: A Programming Handbook for Visual Designers and Artists (MIT Press) and Getting Started with Processing (O’Reilly).

With Casey Reas, Ben Fry started the Processing project in 2001, which seeks to ruin the careers of talented designers by tempting them away from their usual tools and into the world of programming and computation. Similarly, the project is designed to turn engineers and computer scientists to less gainful employment as artists and designers. Ben is principal of Fathom, a design firm based in Boston that focuses on understanding complex data through information graphics and interactive tools, delivered via the web, software-based installation works, mobile devices, or in print.

Malcolm McCullough studies tacit knowledge in media environments. His booksAbstracting Craft (1996) and Digital Ground (2004) both became standards on human-centered design practices. McCullough teaches architecture and information design at the University of Michigan, and has previously served on the faculty at Harvard and Carnegie Mellon. Thirty years ago he was a pioneer in digital media at Autodesk. In the last decade he has given invited talks in a dozen countries. Currently he is writing a book about ambient information.
Daniel Sauter is an artist who creates interactive installations and site-specific interventions dealing with the cultural and social implications of emergent technologies. His work spans a variety of disciplines, Electronic art, Performance art, Robotic art, Sound art, Interactive Sculpture, and Software art. While technology plays an important role in his work, it is not foregrounded. He uses technology as artistic material, embedded in larger social and cultural contexts. Sauter is currently an Assistant Professor of New Media Arts and Program Coordinator at the University of Illinois at Chicago, School of Art and Design.
Sjoukje van der Meulen is an art historian, theorist and critic. She received her Ph.D in modern architectural history and theory from Columbia University (Fall 2009) after the defense of her dissertation "The Problem of Media in Contemporary Art Theory (1960-1990)." Van der Meulen is currently a Visiting Assisting Professor of Modern Art History and Theory in the Department of Art History at UIC.
Jer Thorp is an artist and educator from Vancouver, Canada. A former geneticist, his digital art practice explores the many-folded boundaries between science and art. Recently, his work has been featured by The New York Times, The Guardian, BusinessWeek and the CBC. Jer is a contributing editor for Wired UK, and a frequent lecturer at the conferences and universities around the world. He is currently Data Artist in Residence at the New York Times.
Andres Colubri is a programmer, researcher, and artist. His interests range from algorithmic modeling of complex systems to creative use of computer code for subjective expression and experimentation. He originally studied mathematics in Argentina, then did research in the area of computational biology at the University of Chicago, and recently obtained an MFA degree in Design|Media Arts from the University of California, Los Angeles. He is involved in several open source projects focused in the use of real-time graphics and video, among them the ongoing OpenGL integration in Processing. Currently a professor at Jeju National University in South Korea, and visiting lecturer at the Universidad Nacional de Colombia.
Jesus Duran is an artist and technologist currently pursuing a Master’s of Fine Art in the New Media Arts program at UIC. His primary interests lie in exploring the impact that technology has on relationships between individuals, media and the sense of self. These themes often manifest themselves as Software Art, Interactive Installations, various media and anonymous releases.
Julio Obelleiro is an artist and engineer focused on the creation of interactive installations and large-scale projections that address the alteration of the viewer’s perception. His interdisciplinary work has been exhibited in festivals and venues such as Ars Electronica (Austria), File (Brazil), 10YearsAfter Festival (Seoul), The White Night (Madrid), Looptopia (Chicago), Urban Art Festival (Bucharest), etc. He has been recipient of the grants Fulbright and Torres Quevedo and has contributed to the publication AI Game Programming Wisdom (Charles River Media). Obelleiro currently teaches in the New Media Arts program at UIC and in the Art and Technology Studies at SAIC. In 2007 he co-founded the open source tool Cing with Jorge Cano.
Jorge Cano is a designer and digital artist who is currently working in human computer interaction and data visualization. In recent years, his body of work has been focused on researching the use of new media, mainly interactive video and audio systems, in order to study new ways of communicating with the viewers. In 2007 he co-founded the open source tool Cing with Julio Obelleiro.
Shawn Roske is an interaction designer and software engineer that recently joined the Cing team. For the past 12 years he has created web experiences, mobile applications and permanent interactive installations for company and clients. His current interests are focused on developing and exploring the capabilities of all the major mobile device platforms.
Susan M. Fullman
As Associate Dean at the University of Illinois College of Engineering Sue Fullman works to introduce Chicago area companies to early stage UIC engineering research and faculty resources. Fullman spent the nine years prior to joining UIC at Motorola creating several profitable mobile consumer solutions and highly successful high-end mobile companion products business. Prior to Motorola Fullman spent twenty years at United Airlines most notable for being first to capitalize on emerging internet technologies by developing and launching electronic booking and ticketing capabilities setting the stage for distribution to consumers through direct on-line channels such asual.com and M&A activities including funding of Orbitz, Internet Travel Network (ITN) and Hotwire.

CONTACT

Organizer:
Daniel Sauter
Assistant Professor, Program Coordinator
New Media Arts
UIC - School of Art and Design (M/C 036)
929 W. Harrison - 106 Jefferson Hall
Chicago, IL 60607-7038
info@processingandroid.org

Co-Organizer:
Susan M. Fullman,
Associate Dean College of Engineering, UIC
Interim Director, UIC Innovation Center

SUPPORTED BY

UIC Innovation Center
UIC School of Art + Design
Google
Fuzzy Math
Download Processing.Android Poster. Request printed copy

You are receiving this email because a friend/colleague recommended you for this event.

Our mailing address is:
UIC Innovation Center
1240 W Harrison St Chicago
Chicago, Illinois 60607

Government Alpha, Skin Graft and Jason Soliday @ neon marshmallow fest UPLOAD 666% COMPLETE - jonCates (2010)

2010-08-21T17:35:00.002-05:00

Government Alpha, Skin Graft and Jason Soliday @ neon marshmallow fest UPLOAD 666% COMPLETE - jonCates (2010)

Weaponry Isolate (for 5hm3x) - jonCates (2010)

2010-08-13T09:10:00.001-05:00

Weaponry Isolate (for 5hm3x) - jonCates (2010)

under over sideways down & FEAR CHAMBER - Christoph Draeger and Heidrun Holzfeind (2008)

2010-08-06T02:40:00.002-05:00

under over sideways down - Christoph Draeger and Heidrun Holzfeind (2008)
Three channel video installation, beanbags, 12 min.

under over sideways down is an investigation of the representation of the underworld in film history, a mind-boggling horror trip through caves, abysses and endless tunnels to the dark corners of the subconscious, where primeval fear slumbers.
The three channels show scenes from different movies to reveal similarities and stereotypes in the representation of the descend into – and life in the underworld: fear, horror, torture, death and the afterlife. A thought-provoking journey into the collective memory and subconscious. By careful composing paradigmatic moments found in these films, the piece allows us to rethink and reposition the implicit meaning of these brief filmic moments.

commissioned and produced by OK Centrum Linz

FEAR CHAMBER - Christoph Draeger and Heidrun Holzfeind (2008)
Video loop, 16:9, 34 min.

Fear chamber is an investigation of the underworld using scenes from more than 150 movies: a mind-boggling horror trip through caves, abysses and endless tunnels to the dark corners of the subconscious, where primeval fear slumbers. A psychedelic nightmare through film history, a roller coaster ride that keeps spiraling downwards, final destination: hell.
The piece is spliced together using snippets of movies to analyze notions of fear, horror, religion, death and the afterlife through the fractured lens of cinema and critical theory. Draeger/Holzfeind utilize montage to mine the history of horror films, Hollywood and others, creating sequences that address the representation of fear, murder, torture, Armageddon and the destruction of all things beautiful. This monumental work becomes a thought-provoking journey into the collective memory and subconscious. By careful composing paradigmatic moments found in these films, the piece allows us to rethink and reposition the implicit meaning of these brief filmic moments. (SVB)

commissioned and produced by OK Centrum Linz

Respect the Dead - Pierre Bismuth (2001 - 2009)

2010-08-06T02:14:00.003-05:00

Respect the Dead - Pierre Bismuth (2001 - 2009)

"Bismuth shows the first few minutes from films like "Dirty Harry", "Vertigo" or "Highlander". As soon as an actor dies in one of these films, the film ends abruptly and the credits follow. The radical cut turns initially irrelevant figures into main characters, calling for respect for their sudden death. For Hoehenrausch above the roofs of Linz, Bismuth has chosen a series of films in which the action takes place specifically on roofs, balconies or parking garages." - OK Centrum

Celebrate the closing of the IN.F3XXX10N.US online art exhibition!

2010-07-31T14:06:00.000-05:00

Join us, the exhibiting artists and surprise guests to celebrate the closing expiration of the IN.F3XXX10N.US online art exhibition!

The IN.F3XXX10N.US exhibition has been infected by over 30 exhibiting artists/identities/projects/accounts since July 1 2010! On July 31 2010 IN.F3XXX10N.US domain will expire, effectively ending the exhibition in it's present form but opening the opportunity to anyone who wishes to purchase the domain and continue the project in whatever form(s) they may imagine best.

To infect us during the exhibition Closing/Expiration Party you can login to the exhibition @ http://www.tumblr.com/login using our (current) password: 1nF3kkkT3d

The exhibition Closing/Expiration Party starts Saturday July 31 2010 @ 11 PM CST and runs until Sunday August 1 @ 1 AM or until the domain goes down.

We will have a tinychat and DJ sets by the BAD NEW FUTURE CREW and DJ Stop Turntable throughout the IN.F3XXX10N.US online art exhibition Closing/Expiration Party!

See you online @ IN.F3XXX10N.US for our Closing/Expiration Party!

// jonCates && Jake Elliot
organizers/initiators
HTTP://IN.F3XXX10N.US

Double Digital Hardcore All The Way - jonCates (2010)

2010-07-27T09:52:00.001-05:00

Double Digital Hardcore All The Way - jonCates (2010) from joncates on Vimeo.

Double Digital Hardcore All The Way is a Glitch // Noise Art mashup of the now internet famous Double Rainbow by Paul 'Yosemite Bear' Vasquez as covered/remixed by The Gregory Brothers && Alec Empire's Hard Like It's a Pose by jonCates for the IN.F3XXX10N.US online art exhibition (2010)

http://youtube.com/watch?v=OQSNhk5ICTI
http://youtube.com/watch?v=MX0D4oZwCsA
http://alec-empire.com
http://systemsapproach.net
http://in.f3xxx10n.us

Vodule: Tracing the extension of volume and modularity in 3-D, augmented reality, and emerging media

2010-07-27T04:03:00.001-05:00

Vodule, a new project by Yong Kim, Eduardo Navas, Maxx Navas and Ludmil Trenkov, examines the concepts of volume and modularity in media:

"Vodule examines the concepts of volume and modularity in media. We focus on how image, sound and other forms of communication are reinterpreted and extended with the purpose to provide immediate and believable bodily experience. At the moment, it is in Augmented Reality, Gaming, and 3D technology where much research and development is taking place, which is why we take these areas as starting points. Vodule also includes material from more established fields that push the possibilities of representation and communication as we know it.

Vodule is a word that encapsulates “volume” as in actual body or mass, as understood in physical space and simulated in 3D visualization; and “module” as a reference to different parts or objects that can work together but are interchangeable and independent, as defined in computing. Media covered includes Film, Photography, Gaming and all in-between. Reblogs, news feeds, reviews and special features are presented together to enhance the understanding of emerging media.

We reblog everyday and write in-depth articles regularly. If you would like to contribute or give us a tip, make sure to visit our contribute page to learn how."

http://www.vodule.com

Broken Bone Snapback Cap

2010-07-23T13:48:00.003-05:00

i got this hawt new cap from IRON FIST @ RATTLESNAKE in Wien

of course, what i love about this is that it is a remix of the classic Powell Perelta Ripper design from my skateboarding youth in the 80's:

IRON FIST even appropriates the Powell Perelta font to remix their own typeface on the underside of the cap:

so RAD!

UR iBEAMZ no FX, HOOMAN AND K1TTY!!! - Jon Satrom (2008)

2010-07-23T13:28:00.001-05:00

UR iBEAMZ no FX, HOOMAN AND K1TTY!!! - Jon Satrom (2008)

UR iBEAMZ no FX, Grasshopper! - Paul Hertz (2008)

2010-07-23T13:26:00.001-05:00

UR iBEAMZ no FX, Grasshopper! - Paul Hertz (2008)

ImagingByNumbers-VS-Deadtech - Paul Hertz (2008)

2010-07-23T13:23:00.001-05:00

ImagingByNumbers-VS-Deadtech - Paul Hertz (2008)

am listen 2 sunshine - Paul Hertz (2008)

2010-07-23T13:15:00.001-05:00

am listen 2 sunshine - Paul Hertz (2008)

Jodie Mack @ dorkbot Chicago on Thursday July 29th 2010 @ 7pm!

2010-07-23T13:04:00.000-05:00

Jodie Mack @ dorkbot Chicago on Thursday July 29th 2010 @ 7pm!

Jodie Mack presents a DIY zoetrope workshop in which we will make zoetropes (both slit and strobe) with record players, motors, etc; a thaumatrope workshop where we will make the actual discs (using drills to make them spin instead of string); and then a digital thaumatrope excercise where we take two unrelated images and explore alternating them in rapid sequences until the viewer sees a combined image!

PLEASE BRING: old cds and dvds, things that have turning motors (record players, fans, drills, blenders, other automata) and strobe lights if you have them! Jodie will be bringing buckets, discs, one record player, one drill, and two motors (that may need rewiring)

Jodie Mack is a Chicago-based artist working in various forms of cut-out and stop-motion animation. She works with young filmmakers and spends her free time making pop-up cards and coordinating screenings and film festivals.

DATE:

THURS JULY 29 2010

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!

DOING IT RIGHT?! (for Terry Lawrence) - jonCates (2010)

2010-07-17T07:54:00.003-05:00

DOING IT RIGHT?! (for Terry Lawrence) - jonCates (2010)

via Facebook:

via DOING IT WRONG:

2 weeks left to infect .us @ IN.F3XXX10N.US

2010-07-17T05:47:00.002-05:00

beginning just over 2 weeks ago, the IN.F3XXX10N.US online art exhibition is now infected by over 30 exhibiting artists/identities/projects/accounts such as: Anonymous, Andy Warhol, Marcel Duchamp, ANON, Rrose Sélavy, 4chan, dump.fm, TRIPTYCH.TV, Shane Mecklenburger, ARAM BARTHOLL, POP.NET.ART, René Magritte, Rosa Menkman, maxcapacity, Wolf D. Schreiber, veterraga, Sian Amoy, The Internet Traveler, kittenglitches, ipretended, i thought i had a virus, etc...

we remain up + running in a realtime stream of multiple collective subjective consciousness @ IN.F3XXX10N.US + we invite yawl to infect .us via:

OUR EXHIBITION EMAIL: INF3XXX10N@GMAIL.COM

OUR EXHIBITION LOGIN: http://www.tumblr.com/login

OUR EXHIBITION PASSWORD: N01XXX3F

TRIPTYCH.TV (AKA jimpunk, abe linkoln + mr tamale) +/or those who may be representing themselves as if they are TRIPTYCH.TV, Shane Mecklenburger + Anonymous have been among the most active agents infecting us so far, participating in partially confrontational but always creative, conversational + constructive dialogues

thru IN.F3XXX10N.US we are creating an ongoing & animated conversation in which we produce a process, an exhibition, an ongoing exchange of media/moments/memes

2 weeks remain to infect us via the login + password information above. the exhibition runs online until July 31 2010 when the
IN.F3XXX10N.US domain expires, effectively ending our control of the exhibition but opening the opportunity to anyOne who wishes to purchase the domain and continue the project in whatever form(s) they may imagine best

looking fwd to yr infections!

// jonCates && Jake Elliot
organizers/initiators
HTTP://IN.F3XXX10N.US

NOT WANT GODDESS prefer cyborg, thnx. - Monica Panzarino (2010)

2010-07-17T05:18:00.000-05:00

NOT WANT GODDESS prefer cyborg, thnx. - Monica Panzarino (2010)

IN.F3XX10N.US ?!

2010-07-17T05:17:00.001-05:00

IN.F3XX10N.US ?!
http://in.f3xxx10n.us

IN.F3XXX10N.US is an online art exhibition, organized and initiated by jonCates && Jake Elliott, running from July 1 - July 31 2010. During the run of the exhibition you can infect us @ IN.F3XXX10N.US! On July 31 2010 this domain will expire, effectively ending our control of the exhibition but opening the opportunity to anyone who wishes to purchase the domain and continue the project in whatever form they may imagine best.

OUR EXHIBITION EMAIL IS: INF3XXX10N@GMAIL.COM

OUR EXHIBITION LOGIN IS: http://www.tumblr.com/login

OUR EXHIBITION PASSWORD IS: N01XXX3F

WHOIS:

jonCates && Jake Elliott have run various experiments in radical inclusivity in online art whirlds environments including: the Critical Glitch Artware event @ NOTACON and BLOCKPARTY 2010; developing an open archive for the OpenFrameWorks project (which was initiated by Jon Satrom for the r4WB1t5 micro.Festival); Jake Elliott's folksonema screening series; and criticalartware's BLIT:SCREEN project. they can be found online @ the following: http://systemsapproach.net && http://dai5ychain.net

SPEED SHOW vol.1: TELE-INTERNET 2010.06.11 Kreuzberg Berlin .DE

2010-06-10T06:40:00.001-05:00

SPEED SHOW
by Aram Bartholl

The SPEED SHOW exhibition format:
Hit an Internet-cafe, rent all computers they have and run a show on them for one night. All art works of the participating artists need to be on-line (not necessarily public) and are shown in a typical browser with standard plug-ins. Performance and life pieces may also use pre-installed communication programs (instant messaging, VOIP, video chat etc). Custom software (except browser add-ons) or off-line files are not permitted. Any creative physical modification to Internet cafe itself is not allowed. The show is public and takes place during normal opening hours of the Internet cafe/shop. All visitors are welcome to join the opening, enjoy the art (and to check their email.)

SPEED SHOW manifest by Aram Bartholl 2010

SPEED SHOW vol.1: TELE-INTERNET
One night group show and the start of an ongoing series of SPEED SHOWS.
Opening!
Friday 11th of June 2010, 21:00 – 00:00
Kottbusser Damm 103, Berlin (G-maps)

Following artists will show new or recent works:
- jonCates (US)
- Constant Dullaart (NL)
- Dragan Espenschied (DE)
- JODI (NL/BE)
- Geraldine Juarez (MX)
- Tobias Leingruber (DE)
- Olia Lialina (RU)
- Moddr (NL/AT/RU)
- Johannes P Osterhoff (DE)
- Evan Roth (US)
- Ralph Schulz (DE)
- Paul Slocom (US)

Curated by Aram Bartholl

Curatorial Statement:
net.art is dead? Long live pop.net.art!

The Internet browser a key element to the success of the web in the beginning of the 90’s has grown mature in the last two decades. Technical development, open standards and open software made the browser a very powerful tool. It seems soon it will take over the operating system and there will be nothing left than apps in the cloud.

It’s about time to revisit net.art in an era of 500 million Facebook user. net.art never really found it’s way out of the media art bubble. The browser was the promising canvas in the early ’90s and is today more then ever capable to do what ever you like. Within the last let’s say 5 years the Internet arrived and became totally mainstream. The social web unfolded it’s power and became part of everyday life of hundreds of millions users. Their massive real time information flow began to have a huge impact on mainstream media and political structures.

The potential size of an audience for on-line art work has grown infinitely large. Technical barriers, limited access, little bandwith or lack of skills are not an issue any more. In an era of Internet memes and 20+ million Youtube views on one video in a day artists need to reconsider the web from a different perspective. A new generation of creative minds picked up the field of net.art and expanded it to the next stage: pop.net.art (coined by Aram Bartholl 2010) emerged under the influence of social web monopolies, highly flexible open software, amateur meme cult and pop culture. A wide range of coders, designers and artists including the pop.net.art experts from F.A.T. Lab experiment in this genre with great success. ‘Classic’ net.art is appropriated and gets remixed with web activism, DIY philosyphy, sharing culture, easy to use browser ad-dons and open source beliebers on a state of the art technical level.

The first SPEED-SHOW vol.1 represents a wide selection from well known net.artists to a young generation of web savy coders and Internet renegades. From youtube interventions and social web critique to pixel celebration and gif.pop 12 artists (or artist groups) will show recent and new works.

net.art never died! It just moved to your local Internet-shop! Come and join the party!

Aram Bartholl 2010
_____________________

Creepy Watson - tdous (2008)

2010-06-09T21:24:00.000-05:00

Creepy Watson - tdous (2008)

Stromae - "Te Quiero" ... ceci n'est pas un clip

2010-06-09T21:22:00.000-05:00

Stromae - "Te Quiero" ... ceci n'est pas un clip

William Burroughs: Advice for Young People

2010-06-09T21:21:00.000-05:00

William Burroughs: Advice for Young People

kdenlive munching my game trailer - Jake Elliott (2010)

2010-06-09T21:17:00.001-05:00

kdenlive munching my game trailer - Jake Elliott (2010)

"file under: comes from the land of the ice and snow." via: Entro Mc

2010-06-09T21:08:00.001-05:00

"file under: comes from the land of the ice and snow." via: Entro Mc

In the Mode Conversing About Spells (Self Portrait As If With Self Portrait) - jonCates (2010)

2010-06-09T21:00:00.001-05:00

In the Mode Conversing About Spells (Self Portrait As If With Self Portrait) - jonCates (2010)

Conversing About Spells (Self Portrait As If With Aleister Crowley) - jonCates (2010)

2010-06-09T20:58:00.000-05:00

Conversing About Spells (Self Portrait As If With Aleister Crowley) - jonCates (2010)

In the Mode (Self Portrait As If With Aleister Crowley) - jonCates (2010)

2010-06-09T20:54:00.000-05:00

In the Mode (Self Portrait As If With Aleister Crowley) - jonCates (2010)

MACHINIMA course in FALL 2010

2010-04-20T13:55:00.003-05:00

MACHINIMA: EXPERIMENTAL NEW MEDIA ART & GAMES
jonCates
FVNM 4866 THURSDAYS 9 AM - 4 PM
FALL 2010 – FILM, VIDEO & NEW MEDIA STUDIO COURSE

Machinima literally combines "machine" and "cinema" using computer-based games to develop film and media art. Machinima views video games and game culture as New Media. Video game engines become artistic toolsets and authoring systems allowing artists to use the underlying code structures to create their own media artworks. Students play video games, learn to render artworks in realtime with low cost, commercially available game engines and free and open source software systems, discuss online distribution, and screen machinima artworks.

jonCates is a New Media Artist who makes, curates, collects and teaches experimental Machinima as well as various other Digital Art forms. His projects and programs show widely internationally and online: http://systemsapproach.net

CRITICAL GLITCH ARTWARE CATEGORY OPEN at BLOCKPARTY and NOTACON 2010!

2010-04-06T17:06:00.001-05:00

CRITICAL GLITCH ARTWARE CATEGORY OPEN at BLOCKPARTY and NOTACON 2010!

The criticalartware crew invites you to participate in the CRITICAL GLITCH ARTWARE CATEGORY OPEN at BLOCKPARTY and NOTACON 2010! Hosting the ARTWARE CATEGORY at BLOCKPARTY and NOTACON 2010, we invite submissions of Critical Glitch Artware to be exhibited and experienced in the context of the largest running North American demoparty! The ARTWARE CATEGORY will feature experimental works of Noise && New Media Art; Realtime Audio-Video Performances; Art Mods and Art Games as well as a Glitch Art screening program curated by Nick Briz!

The CRITICAL GLITCH ARTWARE CATEGORY opens on Friday April 16th. Entries to the CRITICAL GLITCH ARTWARE CATEGORY should be sent to criticalartware by Tuesday April 13th 2010.

CONTACT us to SUBMIT your PROJECTS to the CRITICAL GLITCH ARTWARE CATEGORY:

criticalartware AT gmail DOT com

ABOUT THE ORGANIZERS

The criticalartware crew won first place in the 'Artware' category at BLOCKPARTY 2008 and revealed their secret source codes at BLOCKPARTY and NOTACON 2009. BLOCKPARTY and NOTACON 2010 mark the first public opening of the ARTWARE CATEGORY as organized by criticalartware. The criticalartware crew has participated in and organized Artware events internationally in Chicago, Mexico City, Helsinki, San Francisco, Vienna, Bejing and Aarhus:

http://criticalartware.net

The criticalartware crew is currently constituted by jonCates, Jake Elliott, Tamas Kemenczy and Mark Beasley.

Nick Briz curates Glitch Art and exhibits his own work internationally at festivals such as the Images Festival in Toronto, the Chicago Underground Film Festival, the FILE Media Arts Festival in Rio, Brazil and the Sidney Underground Film Festival:

http://www.nickbriz.com

ABOUT THE EVENT

Blockparty is the largest running North American demoparty. Founded in 2007 by Jason Scott and Christian "RaD Man" Wirth, it has partnered with Notacon in Cleveland, Ohio:

http://www.demoparty.us

Notacon (pronounced "not-a-con") is an art and technology conference which takes place annually in Cleveland, Ohio:

http://www.notacon.org

...

http://criticalartware.net/
CRITICAL GLITCH ARTWARE CATEGORY DEMO INVITE by m4k3r aka Mark Beasley (2010)

http://criticalartware.net/nfo/
ONLINE NFO

http://criticalartware.net/img/CGAC.jpg
WWWEB FLIER *

* the CRITICAL GLITCH ARTWARE CATEGORY was made possible in part by the Satromizer by Ben Syverson:

http://bensyverson.com/software/satromizer/

Jon Satrom (on whom the Satromizer is based) + Ben Syverson (the artware developer who created the Satromizer) are founding members of previous versions of criticalartware.

LEONARDO SCHOLARSHIP FOR MediaArtHistories MA awarded to Fran ILICH

2010-04-06T00:14:00.000-05:00

LEONARDO SCHOLARSHIP FOR MediaArtHistories MA awarded to Fran ILICH

From a field of applicants from twelve countries from four continents, Mexican media artist, author, and researcher Fran Ilich Morales Muñozhas been awarded the first Leonardo Scholarship in the Media.Art.Histories MA program at the Department of Image Science at Danube University, Austria. The jury, consisting of Edward Shanken, jonCates and Oliver Grau selected Ilich from a highly competitive group of candidates based on his extraordinary accomplishments, intellectual sophistication, independent vision, and entrepreneurial spirit.
Ilich is Director of the Literature Department at the Centro Cultural de Tijuana, Founding Director of Possible worlds.org and Founding CEO of Spacebank. He was Co-founder and Moderator Nettime-Latino and has contributed essays to Wired News, Modem.txt, and Al Fin. His videogame artwork, "Banner" (with Blas Valdez) was exhibited at 01 San Jose (2009) and ARCO XX, Madrid (2001). His Internet soap opera, "Fea y Rebelde" was exhibited at Documenta 12, Kassel (2007). He was General Director and Curator of the Borderhack! festivals in 2001, 2002, and 2005.

=> LEONARDO SCHOLARSHIP FOR MEDIA ART HISTORIES
The scholarship is planned to answer the critical challenges of the 21st century, which require mobilization and cross-fertilization among the domains of art, science and technology by supporting the studies of a new researcher or artist.

=> FIRST INTERNATIONAL MASTER OF MEDIA.ART.HISTORIES
(low-residency; English language, international faculty) The postgraduate program MediaArtHistories conveys the most important developments of contemporary art through a network of renowned international theorists, artists and curators like: Erkki HUHTAMO, Lev MANOVICH, Christiane PAUL, Paul SERMON, Edward SHANKEN, Jens HAUSER,Sean CUBITT, Christa SOMMERER, Gerfried STOCKER, Knowbotic Research, Frieder NAKE, Oliver GRAU and many others.

Artists and programmers give new insights into the latest software, interface developments and their interdisciplinary and intercultural praxis. Keywords are: Strategies of Interaction & Interface Design, Social Software, Immersion & Emotion and Artistic Invention. Using online databases and other modern aids, knowledge of computer animation, netart, interactive, telematic and genetic art as well as the most recent reflections on nano art, augmented reality and wearables are introduced. Historical derivations that go far back into art and mediahistory are tied in intriguing ways to digital art. Important approaches and methods from Image Science, Media Archaeology and the History of Science & Technology will be discussed.
http://www.donau-uni.ac.at/mah

=>DANUBE UNIVERSITY KREMS - located in the UNESCO world heritage Wachau, 70km from Vienna, is the only public university in Europe specializing in advanced continuing education by offering low-residency degree programs for working professionals and life long learners. Our students & faculty members come from the USA, Italy, Canada, Syria, Austria, Mexico, & Hong Kong, among others. Without interrupting their career, students have the opportunity to learn through direct experience, social learning in small groups and contacts with labs and industry. They gain key qualifications for the contemporary art and media marketplace. The Center in Monastery Goettweig, where most MediaArtHistories courses take place, is housed in a 14th century building, remodeled to fit the needs of modern research in singular surroundings.

=> LEONARDO/ISAST - Leonardo creates opportunities for the powerful exchange of ideas between practitioners in art, science and
technology. Through publications, initiatives andpublic forums, Leonardo/ISAST facilitates cross-disciplinary researchin these fields, seeking to catalyze fruitful solutions for the challenges of the 21st century. Among the challenges requiring cross-disciplinary approaches are establishing sustainable environmental practices, spreading global scientific and artistic literacy, creating technological equity, and encouraging freedom of thought and imagination.

=>LEAF - The Leonardo Education and Art Forum promotes the advancement of artistic research andacademic scholarship at the intersections of art, science, and technology. Serving practitioners, scholars, and students who are members of the Leonardo community, LEAF provides a forum for collaboration and exchange with other scholarly communities, including the College Art Association of America (CAA), of which it is an affiliate society.

Further Information:
http://www.donau-uni.ac.at/mah
http://www.leonardo.info
http://www.virtualart.at
http://www.mediaarthistories.org

What's Going On / What's Happening Brother - Marvin Gaye (1973)

2010-03-06T13:20:00.000-06:00

What's Going On / What's Happening Brother - Marvin Gaye (1973)

jonCates WANTED FOR: TH13V3RY!!! (for Monica Panzarino) REMIX - jonCates (2010)

2010-03-02T00:45:00.003-06:00

Personalized Glitter Graphics

jonCates WANTED FOR: TH13V3RY!!! (for Monica Panzarino) REMIX - jonCates (2010)

jonCates WANTED FOR: TH13V3RY!!! (for Monica Panzarino) - jonCates (2010)

2010-03-02T00:23:00.005-06:00

jonCates WANTED FOR: TH13V3RY!!! (for Monica Panzarino) - jonCates (2010)

Self Portrait with iPhone (Not Pictured) - jonCates (2010)

2010-03-01T23:50:00.001-06:00

Self Portrait with iPhone (Not Pictured) - jonCates (2010)

Tobias Bernstrup and Palle Torsson interview - jonCates (2007)

2010-02-15T23:12:00.001-06:00

"Make your own exhibitions. Examine it, rip it apart and learn from it and do copy it. Don´t forget that stealing is everything." from the Museum Meltdown arken.map README by Palle Torsson and Tobias Bernstrup (1996)

i am currently releasing an interview that i did w/Tobias Bernstrup and Palle Torsson on the Art Game Studies platform which i introduced here:

http://bit.ly/apCkM8

Bernstrup and Torsson collaboratively created a series of Art Games in the form of Art Mods called Museum Meltdown from 1996 to 1999. these Art Mods are among the first of their kind, New Media Art interventions into the site of their own exhibition which utilize the possibilities presented by First Person Shooters and level editing. i interviewed Bernstrup and Torsson in 2007 to discuss these Media Art Histories for an essay of mine called Running and Gunning in the Gallery: Art Mods, Art Institutions and the Artists that Destroy Them, which will appear in From Diversion to Subversion: Games, Play, and Twentieth-Century Art, edited by David Getsy. our discussion is both technical and conceptual, involving questions of Institutional Critique, site specificity and personal reflections of the often self-relfexive process of making museums meltdown...

jonCates
Chicago
2010

Rebirth: Eve’s Escort - Susanne Slavick (2007)

2010-01-28T08:07:00.001-06:00

Rebirth: Eve’s Escort - Susanne Slavick (2007)

Art Game Studies resource

2010-01-25T15:49:00.000-06:00

i am releasing a new + open collaborative/community-based resource on/for Art Game Studies here:

http://bit.ly/5GdzNL

this list is primarily drawn from classes that i teach at the School of the Art Institute of Chicago where i have developed the New Media curriculum in the department of Film, Video & New Media. the list includes works that i + others have taught, played, researched, written on, developed, screened + exhibited as well those that have been developed by my students, colleagues, peers, fellow artists + myself. as such, this resource is subjectively crafted from my own experiences but hopefully objectively useful as a contribution to the field of Art Game Studies + Media Art Histories.

the resource will be used in my upcoming course Art Game Studies, a new Media Art Histories course being offered by the Art History, Theory & Criticism department + Film, Video & New Media. this course is both an overview of Art Games as well as introduction to the theories + discourses of Game Studies. the research for this resource also comes from + contributes to my ongoing work in this field, such as my essay, Running and Gunning in the Gallery: Art Mods, Art Institutions and the Artists that Destroy Them, which will appear in From Diversion to Subversion: Games, Play, and Twentieth-Century Art, edited by David Getsy, to be published by Penn State Press.

i am offering this resource freely + openly to anyOne who wants to contribute to or comment on these histories. i will be revising the version that i use in my classes based on your contributions + comments. i hope that artists, academics, researchers + theorists of Art Mods, Art Games, Artware + New Media Art (1) in general find this resource engaging + useful as an open + collaborative/community-based resource that we can develop together, to help document these emerging theorypractices. (2)

jonCates
CHICAGO.US
2010.01.20

1. a note on taxonomies + my approach: in my thinking/feeling on the subject, Art Games are a subset of Artware (or Software Art) which itself is a subset of New Media Art. i will use the term New Media Art, as it is used in the field by authors such Michael Rush in his New Media in Late 20th-Century Art from 1999 or Mark Tribe + Reena Jana in their collaborative book simply entitled New Media Art. i am also using the phrase "New Media Art" as we use it in the Film, Video & New Media Department. When we use the phrase New Media we refer to time, screen + code based Digital Art that is connected to the histories + theorypractices of Media Art, i.e. Film Art + Video Art. we are primarily concerned with experimental Media Art + we see New Media Art in relation to all other forms of experimental Media Art such as Film, Video, Animation, Installation, Art Games, Machinima, Realtime Audio Video, Web Art, Software Art + Free & Open Source Software. i also take this perspective from two of my own professors, Lev Manovich + Sean Cubitt. For Cubitt + Manovich Video Art and New Media Art are (respectively) both hybrid categories of creative cultural work, meshworks of interconnections that are socially situated technological forms. i am similarly motivated to understand Art Games in this manner.

2. a note on the contents of the Art Game Studies resource: this resource is not intended to be comprehensive but rather as i described above, collaborative + open. not all works in this list can be included in any given syllabus, courseware, research project, published essay, book, etc. still, i believe it is very important to openly compile + discuss such lists in order to respect + encourage multiple parallel Media Art Histories to develop. in this initial version i have not included many commercial mainstream or mass market gaming products or services in terms of chronologies of hardware (i.e. particular consoles) or software (i.e. specific games). in the cases where i have included these they are primarily in place to document the development of a genre (such as the First Person Shooter) or a crossovers between markets (such as in the case of Electro Plankton by Toshio Iwaii).

COPY-IT-RIGHT 2010

experimentalMusics this week (+ those upcoming) in Chicago

2010-01-24T22:26:00.004-06:00

from circuit bending to doom, this week (+ those upcoming) look great in Chicago for experimentalMusics of various types + super awwwesummm subtypes! below is a list of sum of what im looking fwd to... - jonCates

TUES JAN 26 2010: Michael Una in the LAMPO Magical Musical Showcase @ MCA 6 PM – 7 PM
Museum of Contemporary Art, 220 E. Chicago Ave, Chicago, IL 60611
http://una-love.com/munablog/
http://lampo.org

WEDS JAN 27 2010: DEATHFACE at the ABRACADABRA MONTHLY @ RODAN 8 PM
http://www.myspace.com/deathfaceforever

THURS JAN 28 2010: dorkbot Chicago @ ENEMY 7 PM
http://dorkbot.org/dorkbotchi/

THURS JAN 28 2010: DEATHFACE at REGGIES 8 PM
http://www.myspace.com/deathfaceforever

FRI JAN 29 2010: EXPERIMENTS IN REALTIME2 @ The Nightingale 8 PM
http://nightingaletheatre.org

FRI JAN 29 2010: Trust Lost Music Series @ ENEMY 9 PM
http://www.enemysound.com

TUES FEB 2 2010: The Fortieth Day and Noise Crush @ The Empty Bottle
http://www.flickr.com/photos/bloodlustchicago/4257504829/in/set-72157594574085240/

SAT FEB 6 2010: ENEMY SPEAKER COOKOUT @ ENEMY
http://www.chondriticsound.com/forum/viewtopic.php?f=13&t=33909

...a Noise BBQ event im DJ'n (as Southbridge DJs wit Jake Elliott in our Slow Electronics style)

MON FEB 15 2010: Anatomy of Habit @ The Empty Bottle
http://www.flickr.com/photos/bloodlustchicago/4253777111/in/set-72157594574085240/

THURS FEB 18 2010: Locrian and Anatomy of Habit @ The Abby Pub
http://www.flickr.com/photos/bloodlustchicago/4291651008/

Molly Waiting In Field - Inka Essenhigh (2009)

2010-01-23T19:24:00.000-06:00

Molly Waiting In Field - Inka Essenhigh (2009)

Art Games: Mods - Chris Reilly (2010)

2010-01-21T12:18:00.003-06:00

Art Games: Mods
Chris Reilly
Spring 2010
FVNM 4270 001
Monday and Wednesday 6 PM - 9 PM
Film, Video & New Media department
The School of the Art Institute of Chicago

Art Games: Mods, Video Game Modification, explores the popular use of Video Game engines as environments for the production of New Media Art. Modifying games by building and changing in-game elements, environments and characters presents artists with the ability to create Art Games, Media Art works, performance tools and spaces, non-narrative storytelling techniques and render experimental architectures in 3D. Students will create and design new maps, levels and characters using current Video Games and their authoring/editing tools, and have opportunities to explore their created worlds through real-time performances, documentation and play.

CONTACT: creilly AT saic DOT edu
http://www.chris-reilly.org

a BLOODYMINDED moment

2010-01-04T14:03:00.002-06:00

a BLOODYMINDED moment from last nites's show @ The Empty Bottle... + a collection of other moments: http://www.flickr.com/photos/joncates/sets/72157623138337212/

first tests with the gdeip - external signal - Aaron Zarzutzki (2009)

2010-01-04T11:21:00.000-06:00

first tests with the gdeip - external signal - Aaron Zarzutzki (2009)

"testing out the gdeip modulated by sine waves from a bc16
the audio is from the heterodyne output on the gdeip

the gdeip is inspired by the sandin image processor"

Studio Chicago, approachings, towards studio + towards self portrait

2010-01-03T08:25:00.007-06:00

i was recently invited to write for Studio Chicago's blog by the Chicago Department of Cultural Affairs + The School of the Art Institute of Chicago, where i teach in the Film, Video & New Media department. @ 1rst i was to be writing during the end of January on the Studio Chicago's blog but now i will be writing there in March.

in advance + as a means of addressing this, i have begun 2 concurrent + intermingled streams of consciousness: feeling/thinking towards studio theorypractice + towards self portrait

"towards studio" + "towards self portrait" are interrelated projects for me as i imagine studios to be self portraits + self portraits to be studios

this thinking/feeling outloud will take place for the most part on various social software platforms, in RSS feeds, amongst various metatags + mostly on my approachings blog, a blog i have (quietly) maintained since March 2008 as a means towards organizing my own thoughts about my theorypractices

23rd VOTE for Revive by animabase

2009-12-25T18:43:00.001-06:00

i am the 23rd VOTE for Revive by animabase! (&& vry proud to be in fax)

William S. Burroughs: A Man Within - 5min Teaser Trailer - Jonathan Leyser (2009)

2009-12-24T12:37:00.001-06:00

William S. Burroughs: A Man Within - 5min Teaser Trailer - Jonathan Leyser (2009)

Le Petit Dummy - The Classics Presents (Robert Hodgin and William Lindmeier) (2009)

2009-12-23T11:15:00.003-06:00

Le Petit Dummy - The Classics Presents (Robert Hodgin and William Lindmeier) (2009)

http://twitpic.com/uh4wx - sarahecook (2009)

2009-12-21T07:23:00.001-06:00

http://twitpic.com/uh4wx - sarahecook (2009)

Live/Recording - jonCates && Jake Elliott (2009)

2009-12-19T18:31:00.004-06:00

our 1rst Southbridge release Live/Recording - jonCates && Jake Elliott, a limited ed. 12" vinyl is now avail @ Permanent Records in Ukrainian Village + Reckless Records in Wicker Park, both in Chicago. this is a limited edition of 100 w/handmade silkscreened covers made here in Chicago @ Spudnik Press, printed by Spudnik's founder and director Angee Lennard!

GRISTLEISM - Throbbing Gristle (2009)

2009-12-19T12:47:00.006-06:00

ABOVE: the GRISTLEISM Soundboxes, 3 color set, in original 2-layered packaging

we received our GRISTLEISM recently, directly from Staalplaat in Berlin. the shipping time was supa fast + we were hella exxxcited to break open the boxes!

GRISTLEISM is Throbbing Gristle's response to FM3's Buddha Machine aka "THE THROBBING GRISTLE PALM-SIZED LOOP PLAYBACK MACHINE".

ABOVE: the Black GRISTLEISM Soundbox packaging with ">>A Riot of Laughter and Excitement<<" inscription

GRISTLEISM features 13 Loops of audio created by Throbbing Gristle. the Soundboxes themselves come in 3 colors, Black, Chrome + Red. the Soundboxes feature a Volume Control (which is also the on/off switch), a button for switching between loops + a dial for Pitch Control.

ABOVE: the Red GRISTLEISM Soundbox packaging with ">>The Meme is the Message<<" inscription

01 distinguishing feature, which differentiates
GRISTLEISM from the FM3's Buddha Machine, is that
GRISTLEISM has no audio output other than the built in speaker. without a headphone jack Throbbing Gristle takes a hardcore position with
GRISTLEISM that is a parallel commitment to low-fi industrial noise, i.e. that you must listen to
GRISTLEISM only through the built-in speakers or by mic'ing the soundboxes.

ABOVE: the Chrome GRISTLEISM Soundbox packaging with recursive feedbaxxx possibilities

the inscriptions are also defining features of GRISTLEISM adding to each object a poetic fragment in the form of the texts that are imprinted on the packaging boxes as well as on cards that are inserted in the packaging

GRISTLEISM also features a track list of the Throbbing Gristle sources that are sampled + looped on the Soundboxes

we intend to perform our Southbridge Slow Electronics set on glitch.fm tomorrow using the GRISTLEISM soundboxes + have been experimenting today with mic'ing them in various forms such as this:

listen in live, tomorrow, Sunday December 20th from 4 PM - 6 PM CST!

Super 90s Hacker Mash-up - Laurel Ptak (2009)

2009-12-19T10:47:00.002-06:00

Super 90s Hacker Mash-up - Laurel Ptak (2009)

HOT CHICKS ON WOLVES - Dick Firestorm and Aled Lewis (2009)

2009-12-19T10:40:00.001-06:00

HOT CHICKS ON WOLVES - Dick Firestorm and Aled Lewis (2009)

Darth God

2009-12-19T10:27:00.000-06:00

"From Fark's Rejected Christmas Cards theme."

Sentimental Punk - Kurt Kren (1979)

2009-12-10T00:24:00.000-06:00

Sentimental Punk - Kurt Kren (1979)

.dpi issue 17 :: call for proposals :: "adherence: messy resistance"

2009-12-09T12:46:00.001-06:00

.dpi issue 17 :: call for proposals :: "adherence: messy resistance"

Guest editor-in-chief: Sophie Le-Phat Ho
Deadline for abstracts + bios: January 3, 2010
Selected texts must be submitted by: February 7, 2010
Publication date: February 2010

Brought closer to the notion of resistance, that of adherence seems to function as an antonym: to resist something is to not adhere to it. On the other hand, to resist, despite what might claim some inventors of "nonistes", is also to adhere to something else. Between the two, the level of adherence can serve to measure the degree of resistance against institutionalization or cooptation. Adherence can be resistance's weapon just as it can be its weakness point.

As such, resistance and adherence go hand in hand.

However their opposition is not a given. Indeed, the notion of resistance_adherence can be seen rather as a process (of everyday life), a way of doing, of work to be done at every level (at all times). The choice of the concept of adherence, rather than that of adhesion (membership), brings forth the possibility of approaching that concept in terms of degree, of coefficient -- that is, as measure -- and not as identity. Adherence hence suggests the ideas of a slippery ground, of a force of attraction, of friction, lubrication, rhythm, viscosity, entanglement, as well as dexterity, navigation, sharpness -- or in other words -- art. How can resistance_adherence be addressed in those terms, that is, not in oppositions but in levels of intensity? How can an analysis of resistance_adherence lead to a better understanding of creativity, of autonomy? Indeed, how could tackling the notion of resistance from the point of view of adherence expose new tracks, new grips?

Studio XX's feminist journal .dpi welcomes essays, critiques, interviews, and other web-based forms of expression related to the thematic cross-roads of technology, women, art and society.

As an electronic periodical, .dpi also seeks proposals that make an interesting use of the Internet. Usually, essays are no longer than 1500-2000 words and columns, 800-1000 words. Other suggestions can also be acceptable. Selected authors will receive an honorarium for their contribution ($150 per selected article and $75 per selected
column).

Please send your abstract (300 words) and a short bio (100 words) by January 3, 2009, to: programmation_AT_dpi.studioxx.org

For more information: http://dpi.studioxx.org

http://dpi.studioxx.org/demo/?q=en/no/16/Call-for-Proposals-Adherence-Messy-Resistance

All is Full of Love - Bjork (1999)

2009-12-05T13:08:00.001-06:00

All is Full of Love - Bjork (1999)

Contra Dance: The Old Fashioned Way - David Hoffman (1964)

2009-12-05T13:04:00.000-06:00

Contra Dance: The Old Fashioned Way - David Hoffman (1964)

Expialidocious - Pogo (2009)

2009-12-05T12:57:00.001-06:00

Expialidocious - Pogo (2009)

Teen Age Riot - Sonic Youth (1988)

2009-11-19T09:17:00.000-06:00

Teen Age Riot - Sonic Youth (1988)

Bad Moon Rising - Creedence Clearwater Revival (1969)

2009-11-19T09:06:00.000-06:00

Bad Moon Rising - Creedence Clearwater Revival (1969)

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

2009-11-19T08:43:00.001-06:00

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

Paint It Black - Rolling Stones (1966)

2009-11-19T08:39:00.001-06:00

Paint It Black - Rolling Stones (1966)

The Killing Moon - Echo and The Bunnymen (1984)

2009-11-19T08:37:00.000-06:00

The Killing Moon - Echo and The Bunnymen (1984)

People Are Strange - The Doors (1967)

2009-11-19T08:33:00.000-06:00

People Are Strange - The Doors (1967)

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

2009-11-18T16:10:00.000-06:00

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)

2009-11-18T07:54:00.000-06:00

Volcano - Anti-Pop Consortium (2009)

Glitch: Investigations into the New Ecology of the Digital Age

2009-11-09T09:04:00.003-06:00

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

2009-11-02T08:48:00.001-06:00

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)

2009-11-01T09:53:00.000-06:00

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)

2009-10-21T10:50:00.000-05:00

Games For Days - Julian Plenti (2009)

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

2009-10-21T10:42:00.000-05:00

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

Nina Wenhart on Media Art Histories!

2009-10-19T10:18:00.001-05:00

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.

EXPRESSIVE MEDIA EXPRESS October 23 - 24, 2009

2009-10-16T16:01:00.000-05:00

!!! EXPRESSIVE MEDIA EXPRESS

Expressive Media Express is a weekend long interactive slate of programs designed to encourage creative use of digital tools and simultaneously showcase Chicago’s energetic New Media community. It will include two workshops, a screening, live performances and an ongoing media installation online and at The Nightingale, organized by jonCates (School of the Art Institute of Chicago), Christy LeMaster (The Nightingale), and Nicholas O’Brien (Interactive Art and Media, Columbia College).

!!! SCREENING

Screen.Grab2 | CHIcast ::
PART I - ONSCREEN

The Nightingale
1084 N Milwaukee
October 23, 2009 8PM
$5 suggested donation

Organized by Nicholas O'Brien (PART I) and jonCates (PART II)

ARTISTS INCLUDED IN PART I:
Nick Briz
jonCates
Jake Elliott
Arend deGruyter-Helfer
Emily Kuehn
Jesse McLean
Michael Morris
Jon Satrom
Micah Schippa

ABOUT Screen.Grab2:

Screen.Grab2 presents a sampling of Video and New Media work using the visual vocabulary of network and digital culture. From glitch to screen savers to realtime audio-video noise to experimental dance pop movies, CHIcast converses with the multi-vocal presence of screen based art located within Chicago. Screen.Grab2 is part of a weekend long slate of programs (including two free New Media art making workshops) called Expressive Media Express as part of Chicago Artists Month.

In PART I of Screen.Grab2, Nicholas O'Brien has curated a screening program of digital works by artists based in Chicago.

During In PART II of Screen.Grab2, jonCates has organized a series of performances of digital and analog computers and electronics that will pop offscreen and into the physical space of the Nightingale.

"Although Screen.Grab is designed to enable a dialog between New Media and Experimental Cinema, this installment is also intended to bring together discourses from various mediums through creatively engaging in the familiar frameworks of online and digital tools. The ubiquity of graphical user interfaces (GUIs) and digital iconography evident in CHIcast is approached with a playful inquisitiveness and criticality. The work examines our digital interactions through questioning the supposition of the reliable, accurate, personal, and informative qualities found in New Media environments. In repositioning these characteristics away from the initial excitement and subsequent skepticism of New Media, the material found in this screening steer the conversation into a more colloquial and casual shared exploration." - Nicholas O'Brien

MORE INFO ON PART II:

!!! LIVE PERFORMANCES

Screen.Grab2 | CHIcast ::
PART II - REALTIME

ARTISTS INCLUDED IN PART II:
Rainbo Video
Tyler St Clair (Stagediver/Dispyz)
Aaron Zarzutzki
Mark Beasley and Tamas Kemenczy

Rainbo Video (dance pop audio video from Chicago)
http://www.videopopmusic.com

Rainbo Video is a musician, filmmaker, and audiovisual artist based in Chicago. Forging everything from dance party pop to euphoric mash-ups and melodic ambient, he makes brightly colored candy for the ears. His films and art are just as kaleidoscopic, integrating optical illusions, cognitive puzzles, found footage, guessing games, cryptograms, and 3-D excursions into surrealism.

Tyler St Clair (breakcore on obsolete hardware from Milwaukee)
http://radiograffiti.org

Tyler St Clair uses modified and circuit-bent gear including (but not limited to) a VIC-20 & MC-505. He also began work on several Atari 2600 sample playback utilities back in 2003 and has even been seen as a supporter of the UK hacking scene, evidenced by musical submissions to the Hackervoice UK podcast.

Aaron Zarzutzki (realtime noise and glitchery from Chicago)
http://myspace.com/aaronzarzutzki

Aaron Zarzutzki builds homebrew and hacked electronics, mixing together mechanics and codecs and causing analog and digital noise to feedback into each other. He also organizes The Myopic Music Series with Fred Lonberg-Holm and Brian Labycz.

Mark Beasley and Tamas Kemenczy (minimal VGA and CRT hacks from Chicago)
http://arcanebolt.net

Mark Beasley and Tamas Kemenczy bend naive cathode rays using Arduino microcontrollers handbuilt into VHS video cassette cases, Python programming and old CRT monitors from the beige days of computing.

!!! WORKSHOPS

Free Computer Arts Workshops For Kids Ages 8-15!

Many media savvy parents want their children to safely participate with computer and internet technology. Expressive Media Express aims to assist parents and youth by moving the conversation away from technophobia into creative energy.

Alex Inglizian's BentBox workshop on Saturday October 24th at 10 am gives youth the opportunity to open up everyday toys and to sonically modify them for their own creative purposes.

Similarly, Jake Elliott's Step Mania School on Sunday October 25th at 2 pm relocates youth from passive game players to active game makers, as well as lays the foundation for using free alternative software. Participants will work with an open source dance dance revolution program.

Both sessions are free and provide access to an expandable set of skills, as well as teach the importance of community and collaboration. Both workshops are suggested for kids aged 8-15 and each workshop participant will work with their own adult preceptor for the duration of the lesson. All materials are provided. Workshops will be held at The Nightingale (1084 N. Milwaukee, Chicago, IL 60642)

The accompanying installation is also educational by showing the vibrant history of electronic arts in Chicago through an interactive time-line of tactile technology. Kids will be able to interact with modified computers from several different eras of computer history to see first hand the progression of this technology and the art affiliated with it.

Those interested in participating in these free workshops should contact Christy LeMaster at christylemaster@gmail.com or by calling 573-289-4329. Early Reservations are encouraged, as space is limited.

http://nightingaletheatre.org

http://screengrab.tumblr.com

http://chicagoartistsmonth.org

Program #7 - Jane Veeder and Phil Morton (1979)

2009-10-15T14:59:00.001-05:00

Program #7 - Jane Veeder and Phil Morton (1979) from joncates on Vimeo.

Program #7 - Jane Veeder and Phil Morton (1979)

Third - AnnaMayaHouse (2007)

2009-10-15T14:49:00.000-05:00

Third from AnnaMayaHouse on Vimeo.

Third - AnnaMayaHouse (2007)

All Yr Songs - Diamond Rings (2009)

2009-10-14T21:40:00.000-05:00

All Yr Songs - Diamond Rings (2009)

8bit Halloween ft. Bit Shifter CHICAGO

2009-10-14T20:18:00.001-05:00

One of the premiere Game Boy-wielding 8Bit electronic musicians in the world is Josh Davis aka Bit Shifter, and subVariant and Front 312 are excited to have him perform at Ai Lounge on Halloween. Having played over 100 live shows armed with only two Nintendo Game Boys, and two home-brew aftermarket music programs, he has a dedicated following and has been known to ignite dance floors with his high energy live performances.

Tom Loftus of MSNBC.com says of Bit Shifter’s performance,“[B]y the time Davis jumped to his rave-up 'Parapersona Crash,' the walls started to shake and what little hesitation the audience may have had over dancing to a kiddy toy's 'bleeps' and 'bloops' vanished.”

“We booked him ...and I still think it's the most people that have been in the Tank at one time--hundreds and hundreds of people…” says Mike Rosenthal, Artistic Director of The Tank in NYC. “ Bitshifter just rocked the place--just blew us all away.”
Josh Davis says of the 8bit sound, “This is a really distinctive sound-set that anyone of our generation will have most likely been exposed to during childhood and as a consequence of that it became hardwired into our aesthetic sensibilities….but it was always off-limits creatively. So, people who grew up with 8bit and 16bit video game consoles--if they were musicians, they were able to dabble in just about *anything* else….”

Liz Revision of subVariant will open by digitally spinning minimal tech-house, glitch, and IDM; Mr. Automatic from Front 312 brings electro, new wave, and acid house; and Onefiftyone from Chicago Workgroup plays nudisco.

Bit Shifter explores high-energy, low-bit music composed and performed on a Nintendo Game Boy. The result is an unapologetically fun foray into an evocative and distinctive sound-set, executed on a console generally misperceived as being technically limited. Made possibly by two home-brew Game Boy music-making programs, Nanoloop and Little Sound DJ, Bit Shifter's music adopts and subverts the playfulness inherent in the familiar Game Boy sound-set, repurposing it into the service of novel idioms. Based in New York City, Bit Shifter has performed over one hundred shows worldwide, having recently circumnavigated the planet in a 20-date world tour with fellow chiptune compatriot Nullsleep.

subVariant is a Chicago-based record label and events production company known for its both its innovative electronic music releases and creative packaging, as well as its edgy and boundary-pushing live events and music showcases. Front 312 has been promoting an eclectic night in Chicago for over a year featuring house, electro, new wave and industrial at Liar’s Club, although individually its members have been churning away in various underground electronic realms, and have collected a diverse group of dedicated followers. Together subV and 312 bring their diverse crowds together to experience Halloween in a cool downtown location with an excellent, creative and diverse lineup unique in Chicago for Halloween.

Tickets are $20 at the door, $15 presale at http://www.fractalspin.com/bitshifter, or $17 day off with an RSVP to http://chicago.going.com/bitshifter.

The first 30 people with presale tickets will get a free surprise treat bag featuring cool stuff from local businesses and online shops.

A very limited amount of free tickets for people video game industry are available. Send a link to your LinkedIn page / corporate bio / other credentials to lizk {at} subvariant . com as soon as possible.

Ai Lounge is at 358 W. Ontario, Downtown Chicago. The night runs from 10pm – 3am. A late night sushi menu is also available, as is $10 valet parking.

Bit Shifter interview

Bitshifter-"The World Has Turned and Left Me Here" (Weezer cover) by quantazelle

AUDIO:
“The World Has Turned and Left Me Here” vocal track
from Bitshifter (Weezer Cover)

http://subvariant.com/media/Bitshifter-04TheWorldHasTurnedAndLeftMeHere.mp3

AUDIO:
“Activation Theme” by Bitshifter (Original Instrumental)

http://www.8bitpeoples.com/mp3/get/370/8bp059-02-bit_shifter-activation_theme.mp3

VIDEO:
“Bitshifter Interview”

http://www.youtube.com/watch?v=BifjWTFAvMU
TEXT:
“Interview with Bitshifter” (Longer, more technical
interview)

http://www.chaoscontrol.com/?article=bitshifter

GOING
(DISCOUNT LINK): http://chicago.going.com/bitshifter

PRESALE TIX: http://www.fractalspin.com/bitshifter

subVariant: http://www.subvariant.com

Liz Revision: http://www.lizrevision.com

Black / White - The Raveonettes (2008)

2009-10-11T12:43:00.001-05:00

Black / White - The Raveonettes (2008)

Can't Seem To Make You Mine - The Seeds (1966)

2009-10-11T12:30:00.000-05:00

Can't Seem To Make You Mine - The Seeds (1966)

green.qt_slippage.mov (YouTube) - jonCates (1999.12.02)

2009-10-09T03:12:00.001-05:00

green.qt_slippage.mov (YouTube) - jonCates (1999.12.02)

green.qt_slippage.mov is a screen capture of an Adobe Premiere Quicktime playback error which pixelbleeds into operating system.

breakcore kid - kukowa (2008)

2009-10-09T03:11:00.003-05:00

breakcore kid - kukowa (2008)

green.qt_slippage.mov - jonCates (1999.12.02)

2009-10-08T10:32:00.003-05:00

green.qt_slippage.mov - jonCates (1999.12.02)

green.qt_slippage.mov is a screen capture of an Adobe Premiere Quicktime playback error which pixelbleeds into operating system.

green.qt_slippage.mov (frames) - jonCates (1999.12.02)

2009-10-08T10:10:00.004-05:00

intercae - jonCates (2003)

2009-10-08T08:37:00.000-05:00

intercae - jonCates (2003)

pdfslitch - jonCates (2002)

2009-10-08T08:35:00.002-05:00

pdfslitch - jonCates (2002)

FireworksMX_Palette - jonCates (2003.04.29)

2009-10-08T08:27:00.001-05:00

FireworksMX_Palette - jonCates (2003.04.29)

FREE KITTENS! - jonCates (2002)

2009-10-08T08:19:00.002-05:00

FREE KITTENS! - jonCates (2002)

"At the 2002 Stray Show in Chicago, i carried a closed cardboard box with me that i had handwritten 'FREE KITTENS!' on. i offered FREE KITTENS! to everyOne i met inside the Stray Show. when anyOne accepted, i would open the box, look in, become disappointed + say 'oh, im sorry, it looks like they've all gotten loose...' At the end of the evening i installed the box outside the entrance unattended." - jonCates

shutDown - jonCates (2003)

2009-10-08T08:16:00.002-05:00

shutDown - jonCates (2003)

shutDown (detail) - jonCates (2003)

Cory Arcangel at Conversations At The Edge Spring 2009

2009-10-08T06:14:00.001-05:00

Cory Arcangel at Conversations At The Edge from joncates on Vimeo.

Cory Arcangel at Conversations At The Edge Spring 2009

Best known for his Nintendo game cartridge hacks, multi-media trickster Cory Arcangel uses new and vintage computers, sound, performance, and the web to recontextualize popular figures (Super Mario Brothers, Bruce Springsteen, Simon & Garfunkel) and aesthetic systems (the instructional video, adult contemporary music, the “artist talk”) in subversively comedic ways. This evening, he’ll provide an overview of his practice, possibly including his Super Mario movies, the epic and aptly titled performance piece Bruce Springsteen Born to Run Glockenspiel Addendum, and an archetypal “experimental film,” complete with digital scratches and Final Cut Pro countdown. Co-presented by SAIC’s Parlor Room. 1998–2008, Cory Arcangel, USA, multiple formats, ca. 60 min.

Cory Arcangel is a computer artist, performer, and curator who lives and works in Brooklyn. His work centers on his love of personal computers and the internet. He co-founded the Beige Programming Ensemble. Recent exhibitions include the Whitney Museum, New York; the Museum of Modern Art, New York; Space1026, Philadelphia; the Migros Museum, Zurich; Team Gallery, New York; and Thaddaeus Ropac Gallery, Paris. His online portfolio and web portal is located at: beigerecords.com/cory/

Conversations at the Edge (CATE) is a weekly series of screenings, artist talks, and performances by some of the most compelling media artists of yesterday and today.

CATE is organized by the School of the Art Institute of Chicago's Department of Film, Video, and New Media in collaboration with the Gene Siskel Film Center and the Video Data Bank.

Programs take place Thursdays at 6pm at the Gene Siskel Film Center (164 N. State / Chicago, IL / 312-846-2600), unless otherwise noted.

GATHERING PIXELS: Evan Meaney @ The Nightingale

2009-10-08T05:57:00.000-05:00

GATHERING PIXELS:

The Ceibas Cycle & The Appreciation of a Migratory Archive
A Lecture and Media Presentation by Evan Meaney

Saturday, October 10th, 2009

8:00 pm

$7-10

The Nightingale
1084 N. Milwuakee
Chicago IL
60622

Part exhibition, part artist talk. Part technical demonstration, and part histiography; this lecture introduces Meaney's work in a context of post-structuralism and cinema history. Borrowing from media theorists (Frampton, Ong, Ulmer, Foucault, Baudrillard, Shannon, Derrida and Bergson) Meaney positions the audience to view his work as, not only works of cinema, but critiques of mismanaged and mislabeled memory - be they personal, technological or something in between.

PROGRAM DETAILS:
CEIBAS: PROLOUGE/HOW MAYANS LOVERS MIGHT FIND THE NEXT LIFE
(6 min, video)
LECTURE (live talk, 20 min)
CEIBAS: BENEATH THE PRESSURE OF THE SKY (12 min, video)
CEIBAS: PORTRAIT (1 min, video)
CEIBAS: SHANNON'S ENTROPHY (6 min, video)
CEIBAS: PORTRAIT (2 min, video)
CEIBAS: PROTOCOL FOR A TEMPORARY BURIAL (11 min, video)
CEIBAS: THE UNSEEABLE EXCHANGE OF OUR PARTS (3 min, video)
CEIBAS: SIGMA FUGUE (12 min, video)

Born in Whitestone, New York in the 1980's and raised in the Hudson Valley, Evam Meaney has been working in film and video for the better part of a decade. He was educated at Binghamton University and Ithaca College from which he graduated Magna Cum Laude in 2007 with a degree in Cinema and Photography. His current interest include post-structuralist media theory, break dancing, and the poetry of hexadecimal code. Evan is currently enjoying a graduate fellowship at The University of Iowa's Department of Cinema and Comparative Literature where he continues his research and artistic development.

< title >glitch & art< /title > - Nick Briz (2009)

2009-10-07T12:43:00.001-05:00

<title>glitch & art</title>

<!– by Nick Briz –>

February 18, 2009: Kanye West introduces his new video for the song “Welcome to Heartbreak” on his blog by writing, “This is not the next single, ‘Amazing’ is the next single. This is the video we’ve been working on for the last month. We know there is another video out there using the same technique so we were forced to drop it now.” The technique West is referring to is called Datamoshing (aka pixel bleed), and it is one of many ways “glitch art” is made. The particular digi-painterly look of datamoshing and the fact that it’s fairly easy to execute might in part explain why it has become so popular. <search query datamosh>.

Little did Mr. West know that this interest in aestheticizing digital errors long preceded his piece. In the realm of datamoshing alone, artists like Sven König, Takeshi Murata, Paul B. Davis, and Paper Rad have been exploring the digital medium’s “natural” aesthetics and dynamics. In addition, other artists have explored the larger realm of glitch/compression-artifact/digital-noise art, including SAIC’s own Jon Cates and Jon Satrom <search query: dirty new media>.

Datamoshing is distinctly beautiful because with glitch art that, of course, is the whole idea: to fetishize and aestheticize these organically occuring bugs dwelling in the digital landscape. But, why this interest in glitches? This is one of many questions, and perhaps the most important one, SAIC Film Video and New Media faculty Jon Cates and Jon Satrom have been discussing. Jon</S> suggests a long history and broader context for glitches. “I believe that there always have been glitches (e.g., evolution: the platypus) and there always will be glitches (e.g., sneezes) regardless of ‘technology.’” Errors and their intrigue most definitely have a long explored and examined the role of accidents and chance in artistic practice. This historical interest in flaws may account for some of our attraction to glitches, but the word “glitch” is a computer term which is relatively new and inherently linked to the technological age.

Glitches carry with them a very specifically digital quality, a quality possibly with the ability to nostalgically transport many of us back to our youthful 8-bit days. Or perhaps this attraction has more recently become part of our collective unconscious in the information age. Jon</C> points out, “For those that have now grown up on YouTube errors as a common occurrence, pixel bleed becomes a kind of normal if not normative experience.” There’s a lot to be considered in asking “Why?” and to be perfectly honest it’s difficult for me to see even the tip of the iceberg.

My interest in glitch came as a response to film school in an attempt to reconcile my own artistic situation.When I started, everyone was trying to make their digital movies look more like film. This was accomplished by pulling from an ever-expanding bag of tricks, which included 24p, 35mm (DOF) adapters, and countless plug-ins. After a while, this all started to seem rather counter-productive, and I couldn’t help but feel a bit ideologically out of place. So I looked to some of my favorite filmmakers at the time, Brakhage, Kubelka, and others, and the way they broke their medium down to its core. If I had any chance of establishing the kind of relationship I desired with my medium, I needed to do the same.

So I set out to make a video from binary code, the result of which was my first glitch piece, albeit unknowingly, as I hadn’t at the time encountered any kind of “glitch art.” In fact, I hadn’t seen anything that looked and behaved the way this video did. It was as if after weeks of instigating and negotiating, the computer revealed its soul to me, and I fell in love. I wasn’t exactly sure, especially at the time, why I felt the way I did, to the extent that I did, or why anyone does. It is clear, though, that there is an interest, and it’s an exponentially growing one. This exponential growth is an important note to make and an elemental dynamic of our new digital ecology. It’s critical to realize the effect this Kurzweilian Singularity is having on our rapidly evolving digital culture <search query:technological singularity>.

The means and rate at which things are introduced, assimilated, institutionalized, and historicized is drastically different now from ever before. This is why we have Kanye West “dropping” his trend-hopping commercial video before Iman Moradi releases his analytical academic text on glitch art, all the while artists, thinkers, and kids on YouTube are still exploring and figuring it all out. While I’m still trying to wrap my head around it all, I’m certain,

if nothing else, of the immense conceptual and aesthetic potential within the greater canon of things this new digital practice holds.

A potential to critically address our relationship to technology, the role it plays in our society, and the effect it has on communication and the aggregation and decimation of information in general. Glitch may even have political consequences such as raising an awareness of the “media-systems that have been assimilated by culture and driven by special interests,” as Jon</S> points out, by utilizing and subverting these media-systems, all this in turn creating, as Rosa Menkman puts it, a new space for dialogue: a dialogue about and within a space many of us are still exploring. Perhaps it is in its relatively un-codified presentness and recently tapped potentiality that the attraction lies.

<artists referenced>

Sven König popmodernism.org

Takeshi Murata takeshimurata.com

Paul B. Davis post-data.org/~paul/

Paper Rad paperrad.org

Jon Cates systemsapproach.net

Jon Satrom jonsatrom.com

Iman Moradi organised.info

Rosa Menkman rosa-menkman.blogspot.com

Evan Meaney evanmeaney.com

Nick Briz nickbriz.com

<tutorials>

animalswithinanimals.com/stallio/2008/08/databending-and-glitch-art-primer-part.html

youtube.com/watch?v=tYytVzbPky8

<communities>

flickr.com/groups/glitches/pool/

vimeo.com/groups/artifacts

<local>

It’ll be a good idea to go to the Nightingale on Oct.10 <1084 N. Milwaukee Chicago, IL 60642> Evan Meaney will be in town showing work.

It’ll also be a good idea to check out Dorkbot Chicago:

dorkbotchicago.blogspot.com

(from top) 1. Still from YouTube Readymade, Rosa Menkan, 2009. Courtesy of the artist.

2. Still from Ceibas Portrait, Evan Meaney, 2008. Courtesy of the artist.

3. Still from From the Ground Up In Order, Embrace, Nick Briz, 2007. Courtesy of the artist.