“…分解&改造の…”

小さいころ、いらなくなった電化製品、壊れた時計とかラジオとか分解してみたことがある人は多いと思う。

大人になって改めてやってみると、自分が昔より賢くなってるのでいろいろ発見もあるし、ちょっとがんばれば改造なんかもできちゃったりする。そうなるともう夢中である。

そんな病気をこじらせて、ラジカセを続々と改造し続けている人に今回は話をきいてきた。作品紹介にかこつけて、分解&改造の楽しみをみなさんに伝えられたらと思います。

looks like it works, sounds like it’s broken via http://portal.nifty.com/2010/12/06/b/

Posted in work | Leave a comment

Glitch Fucker

an interview w/ Phil Stearns via FM4.ORT.at

“I called you a glitchfucker. I think because you don’t like the glitch hype. Tell me about it…

I don’t like that “glitch” has become mainstream. A glitch can only be unintentional; it is some momentary burst of errant electrical energy that causes an electronic device to behave spuriously, crash, or produce otherwise unanticipated and unintended output. (…) Sadly, the product of the glitch is on its way to being emptied of its meaning and made a commodity; all the surface features have been exploited—copied, reproduced or intentionally induced—and are slowly being incorporated into the vocabulary of marketing”

read full interview by Johannes Grenzfurthner @ http://fm4.orf.at/stories/1669673/

Posted in interview, theory, work | Leave a comment

Robert Seidel

via Create Digital Motion <read full interview

“In Robert Seidel‘s “motion painting” Meander, digital video is fragmented into atomic textures, as sound and visuals alike crackle through streams and clouds. Don’t mention the word “glitch” or “datamosh”: it’s really more like digital action painting. Working with the visual development environment TouchDesigner, Robert collaborates with sonic artist Heiko Tippelt, as seen here in the excerpts from a recent performance in Sao Paolo, Brazil. Materials are fractured and reconstructed, in granular fashion. I got to talk to Robert a bit about his work.” -Peter Kirn of CDM

There’s some more glitch chatter in the comments. here’s a video:

Posted in interview, work | Leave a comment

Apple Destroyed Products

http://www.fubiz.net/2010/11/15/apple-destroyed-products/ via boingboing

Posted in broken | Leave a comment

Funware follow-up

PoxParty had a super fun time performing at MU for Funware in Eindhoven NL.

Satromizer OS Funware

There’s an interview with Olga Goriunova, Curator of Fun with Software over at Rhizome

David Link / OSK Christoph Haag, Martin Rumori, Franziska Windisch & Ludwig Zeller / Dave Griffiths / Electroboutique / Joan Leandre / Jon Satrom & Ben Syverson / Roger Wigger & !Mediengruppe Bitnik / RTMark / Bob Zimbinski, Jan Hubicka & Greg Alexander / Adrian Ward / I/O/D / JODI / Amy Alexander / Annina Rüst / Gazira Babeli / Dave Griffiths, Aymeric Mansoux & Marloes de Valk /

Software maken en gebruiken kan experimenteel, leuk en in esthetische zin een rijke ervaring zijn. De internationale tentoonstelling Funware gaat over die fun-factor in software-ontwikkeling, en de vele manieren waarop kunstenaars er mee aan de haal gaan in heden en verleden. Zeventien zeer uiteenlopende en veelal interactieve projecten, waarin het spelen met software het uitgangspunt is, worden hiervoor in MU bijeen gebracht.

Funware bewijst dat de wereld voor een deel door freaks wordt geregeerd en dat zelfs de meest formele en logische domeinen van menselijke activiteit doordrenkt zijn met humor en experimenten-voor-de-lol. Software is één van de plekken waar dit soort prakijken van geeks en professionals, codeurs en kunstenaars elkaar ontmoeten. Funware biedt ons een speelse manier om een sterke nieuwe betekenis te geven aan software als een onzichtbare universele cultuur, zowel in de esthetiek als in de geschiedenis ervan.

Electroboutique[mirrored]

 

Posted in Uncategorized | Leave a comment

FUNWARE EXHIBITION // CONFERRENCE

including gli.tc/h own organizer Jon Satrom!

FUNWARE EXHIBITION 12 November 2010 – 16 January 2011
& FUNWARE CONFERENCE 27 November 2010
Eindhoven (NL)

—————————————————
FUNWARE _playing with software
MU, Eindhoven (NL)
12 November 2010 – 16 January 2011
—————————————————

OPENING: Friday, 12 November at 20:00 hrs
with live performances by Alexei Shulgin, Jon Satrom / Ben Syverson
and Amy Alexander.
DJ Emile Zile.

ARTISTS:
Adrian Ward, Amy Alexander, Annina Ruest, Bob Zimbinski, Carmen
Weisskopf / Domagoj Smoljo / Roger Wigger, Christoph Haag / Franziska
Windisch / Ludwig Zeller / Martin Rumori, Colin Green / Matthew
Fuller / Simon Pope, Dave Griffiths, Dave Griffiths / Aymeric
Mansoux / Marloes de Valk, David Link, Electroboutique, Gazira Babeli,
Joan Leandre, JODI, Jon Satrom / Ben Syverson, RTmark, Runme.org

Making and using software can be experimental, humorous and
aesthetically rich. Alongside today’s rather dull omnipresence of
databases and content management systems, elements of fun have
actually informed and guided the development of software from its
beginnings. Fun is the energy of curiosity and inappropriateness,
exploring what is not yet known in art, culture, computer science,
design, math and the site of their encounter: software. Here, software
art, a joke of a mathematical genius and amateur tinkering of software
stand side by side.

The exhibition Funware questions, tangles and experiments with the
materiality of software, the backbone of contemporary society. Letting
us deal with the glitchy nature of human-machine ensembles, it offers
a way of understanding something that is normally hidden and serious.
Fun is far from detaching software from political or social
interrogability, it is rather a force and a method that works on
complicating the normal, the serious and the dominant.

http://www.mu.nl

In 2011 the exhibition will travel to HartwareMedienKunstVerein in
Dortmund!

———————————————————————————-
FUNWARE CONFERENCE
27 November 2010, 10:00-15:30 hrs (during STRP Festival)
at Baltan Laboratories, Eindhoven
———————————————————————————-

SPEAKERS:
Wendy Chun, Matthew Fuller, Andrew Goffey, Wilfried Hou Je Bek, Andrew
Lison, Adrian Mackenzie, Michael Murtaugh and Simon Yuill.
Introduction & moderation: Olga Goriunova

Contrary to the belief that software is a very serious issue, a
battlefield of big business interest and freedom fighters, and a field
guided by rationality and formalisation, it is actually an area of
practice and thinking that often advances through random acts, absurd
use, jokes and curiosity.
International speakers will argue that art, and in particular software
art, can play a crucial role in the production of the world,
undermining the seeming solidity of the infrastructural backbone of
our society and opening it up for intervention and reinvention. The
symposium will also explore the issue of fun and the potential of the
humour in software art. What is humour after all? It is in fact an
artistic and critical attitude to reality?

http://www.baltanlaboratories.org/?p=2332

Curator: Olga Goriunova
Executive producers: aaaan.net
Co-organisers: BALTAN Laboratories & MU
Supported by: VSBfonds, SNS Reaal, London Metropolitan University &
STRP Festival

Posted in festival | Leave a comment

Error in apparatus as aesthetic value by Alejandro Schianchi

Artist/academic Alejandro Schianchi has written a 200pg thesis on ‘Error Aesthetics.’ A kind of, “archeology of ‘error aesthetic with audiovisual apparatus’ with the context of a philosophical genealogy of failure in computer, technolgy-religion, science, economy, and occidental philosophy.” Schianchi is a professor at the National University of Tres de Febrero, in Bs. As., in ‘Electronic Arts’ degree, and in other Universities in Bs. As. as well. Below are links to an abstract he’s made available for GLI.TC/H in both english and spanish.

An error seems to be that which gets between the ideal being and the real being; the error appears to be a singularity, a Non-being that transforms and distorts the Being. Audiovisual techniques, technologies, devices and media try to suppress errors; however, an ideological and aesthetic possibility hides behind the use of errors.

1. Introduction

An error, a failure, or an accident connotes something that is bad, wrong and inappropriate. The purpose of this work is to demonstrate the positive aspect of errors that take place in the artistic production achieved with audiovisual machines.

We will start by giving a more precise meaning to what we usually call “error”. In order to do so, we will resort to its scientific definition, particularly in the fields of physics and mathematics: “difference between the measured or calculated value and the real value”. This means there is a difference between the real obtained result and the prevision we had made and had thought as certain. At this point we will introduce an element which is important to highlight: the concept of error would be unconceivable without the idea of prevision. Previewing entails supposing, waiting, and, above all, “believing” — in terms of faith — that something is going to occur and is going to happen somehow. Only in this way the error is able to appear. If, for example, we do not expect anything in particular from an apparatus that produces images, any result will be satisfying. Moreover, we can set forth that in the field of the arts originality, unlike repetition, carries a different value. Every time art moves away from the normative pressure of academicism (evident in the vanguards of the 20th century), it will attach a positive sense to the difference explained as a shortfall by exact sciences.

If we talk about prevision and repetition, the concept of definition inevitably comes up; definitions are later transformed into classifications. Stability allows us to sort the elements that make up a system according to their characteristics. When we use a photographic camera in the usual way, we expect to obtain, after a series of processes, an image that is true to the one that was in front of the lens of the camera at the moment of exposure. If we obtain instead a splotch, we will infer that some kind of error occurred during the process, because the photographic camera (in its standard definition) does not produce abstract images, but rather reproduces objectively that which is captured by the lens.

2. Perfect Machines

The utopian view of an error-free machine finds it’s origin within two spheres, science and religion… (read on)

Posted in Context, theory | Leave a comment

GltchLnguistx: The Machine in the Ghost / Static Trapped in Mouths

UCNV posterCurt Cloninger published the text on which his GLI.TC/H talk was based online. Great! This is just a little introduction

This essay applies Mikhail Bakhtin’s language theory of “the utterance” to the machinic event of “the glitch” in order to illuminate contemporary glitch art practices, and to suggest fruitful ways in which they might proceed. I understand “the glitch” to be an affective event generated by a media machine (computer, projector, game console, LCD screen, etc.) running in real-time, an event which creates an artifact that colors and modulates any “signal” or “content” being sent via that machine. In 1962, John Glenn famously defined “glitch” as “a spike or change in voltage in an electrical current.”1 “Glitch” has since come to demarcate a set of audio/visual artistic practices which capture, exploit, and produce glitch artifacts.

My goal is not to end all conversation about glitch art by ontologically overdetermining what a glitch is and how exactly it works. Instead, I pose this specific, particular position in the hopes of ending some of the more dead-end and circular conversations about the glitch. I also hope this essay will open up more fruitfully problematic conversations, and will lead to less banal, more conceptually rigorous works of art.

Catch the rest of the text here! Gogogogo! Faster!

Posted in documentation, theory | Leave a comment

Jodi at GLI.TC/H


filmed and uploaded by Nina Wenhart
thank you!

Posted in documentation, interview | Leave a comment

GLI.TC/H (YEAH! OH!) (video by Hellocatfood)


All original material with no post processing.

Go to http://gli.tc/h | http://www.hellocatfood.com

Shout outs/apologies to r00s, Nick Briz, Jon Satrom/Badram, Jon Cates, Vade, Morgan, Ben Baker-Smith, Jeff Don, Daniel, Dave/Mave, NameDropper9000, Theo Drst, Curt, Bob, aandnota, J Connolly, Stallio, Evan Meany and Cool…. and yo mama.

Posted in documentation, festival | Leave a comment