Digital TV Dinner is a video art clip from 1979 created by Raul Zaritsky, Jamie Fenton, and Dick Ainsworth using the Bally Astrocade console game to generate unusual patterns.
The Bally Astrocade was unique among cartridge games in that it was designed to allow users to change game cartridges with power-on. When pressing the reset button, it was possible to remove the cartridge from the system and induce various memory dump pattern sequences. DIgital TV DInner is a collection of these curious states of silicon epilepsy set to music composed and generated upon this same platform.
DTV first appeared at an Electronic VIsualization Festival in Chicago, and we hear the voice of Dr. Thomas Defanti introducing this item to the audience.
5 days left to donate to the Bent Festival Kickstarter!
Now in it’s 8th year, Bent Festival 2011 will be held at 319 Scholes in Brooklyn, June 23rd – 25th. Bent is an annual electronic art and music festival celebrating circuit bending and its related creative practices: DIY electronics, hardware hacking, glitch, software art, abstract video. Each year artists are welcomed from across the country and around the globe to share their craft through performances, workshops, video screenings, art exhibitions, and installations. The festival, as a whole, showcases the state of the art in DIY electronics and circuit bending culture, with an emphasis on participation, education and exploration.
Your donations will go toward paying artist stipends, travel expenses for out-of-towners, and materials for installations and workshops. This year, we plan to make the event bigger and better with your help. $3500 will enable us to bring you a great festival, but the more money we earn here at Kickstarter, the better it will be, so don’t worry about putting us well over that dollar amount!
Funding for Bent Festival is provided in part by the New York State Council for the Arts.
The event space and technical equipment for Bent Festival have been generously donated by 319 Scholes.
Issue Project Room is contributing the use of equipment and volunteer technical direction.
via Josh Billions
“Jon Satrom and Ben Syverson created the sOS or Satromizer Operating System, the world’s first ‘100% problem-based operating system’ which was recently exhibited and performed in the Funware exhibition at MU in Eindhoven, the Netherlands. Combining humor and criticality, Satrom and Syverson’s projects cross boundaries between code-based approaches, functional commercial artware, Glitch Art, Noise and New Media Art.”
Glitch – video/new media exhibition 2011.01.15 CentralTrak: UT Dallas Artist Residency 800 Exposition Ave Dallas, TX utdallas.edu/centraltrak/gallery.htm Glitch is a video exhibition that highlights the recent investigations of a dynamic group of artists who are investigating digital error. What normally … Continue reading
Looking for samples? Data-Cent is in the business of professional data-recovery, “Whether you are a fortune 500 company, a government, educational institution or a personal user, DataCent Recovery has a solution to help recover your data.” And so they’ve organized a beutiful collection of failing hard drive sounds. (via boingboing.net)
About Monglot (order and progress // chaos and destruction)
The name Monglot is a degeneration of the terms Mongrel and Monoglot (the term also references Homi Bhabha’s “forked tongue” of colonialism and my idea of Glitch speak).
Mongrel: the offspring of varieties of a species, mixed background, bastard, or an imperfect crossbreed
Monoglot: knowing only one language; monolingual.
The Monglot software generates glitch images by mashing two languages in one final image; first of all the visual language of the image and secondly the image-data encoded in the language of the compression, that erupts over the surface of the former. This is how common glitch aesthetics like fragmentation, grain, ghosting, heterodynes, interlacing, jitter, jaggies, (…) posterization, pixelating, quantization error, ringing, staircase noise, scan lines (…) are being generated (mimicked?) and come to the surface.
Monglot aims to show the ambivalence (cool vs. hot) and the double articulation (encoding vs. image data) of (File Format-based) Glitch Art. The images generated in the software are ironically standardized by repetition and as such exist as a compromise in-between cool and hot glitches.
This makes Monglot exists as a glitch discourse in-between the lines, against the rules and within them, which is where I think we should look for the discourse of Glitch Art and Glitch Studies.
By normalizing (standardization through rules and repetition) the glitched states of the image the maker develops (new) knowledge of the compression language of the image. At the same time Glitch Art (as progressive and against the grain) becomes a virtual entity (a concept that is only referenced). Monglot thus imposes failure strategically, as a norm, to fork itself from the realm of Glitch Art.
Chi-town’s Ben Baker-Smith (aka Bit_Synthesis) recently launched a glitch.web.art piece entitled Infinite Glitch — a continuously changing glitch-collage media-stream, ripping/pulling its source daily from the mass of content uploaded to the web every second. Potentially infinite (but more likely for a year), I can’t imagine a better way to start off every monday. The project was made entirely with Free/Open-Source Software and funded in part by <terminal>
Every day an incomprehensible number of new digital media files are uploaded to hosting sites across the internet. Far too many for any one person to consume. Infinite Glitch is a stream-of-conciousness representation of this overwhelming flood of media, its fractured and degraded sounds and images reflecting how little we as an audience are able to retain from this daily barrage.
Infinite Glitch is an automated system that generates an ever-changing audio/video stream from the constantly increasing mass of media files freely available on the web. Source audio and video files are ripped from a variety of popular media hosting sites, torn apart, and recombined using collage and glitch techniques to create an organic, chaotic flood of sensory input.
January 15 – February 5, 2011 reception: Jan. 15, 6 – 8 p.m. Glitch is a video exhibition that highlights the recent investigations of a dynamic group of artists who are investigating digital error. What normally would be considered a … Continue reading