Kyle Evans + Didgeridoo + IP
Kyle Evans improvising with his electronic didgeridoo and processing the image with the Sandin IP we use in the realtime a/v course I teach at the School of the Art Institute of Chicago.
Electronically Modified Didgeridoo:
http://www.youtube.com/watch?v=d1VB1v…
Sandin Image Processor:
http://en.wikipedia.org/wiki/Sandin_I…
Untitled #2 – Kromatose 1996
Untitled #2 – Kromatose 1996
I was dusting off an archive the other day, and found this video from a program I created in 1996 for CATV channel 12 in Bismarck called Kromatose. The model of the program was inspired by OFFLINE, a video art program put together by Greg Bowman & Scott Noegel.
Offline 1993-2003
OffLine’s cable television screenings showcased over four hundred works by independent media producers internationally. The program focused on the diverse forms of the artistic experience. All creative strategies to video and film were encouraged. Genres included experimental, art, computer graphics, animation, music videos, performance art, experimental documentary, and short narrative.
OffLine also featured a wide variety of interviews with artists. Artists included Philip Glass, Steina Vasulka, Dee Dee Halleck, Craig Baldwin, Malachi and the Mass Resists, the Second Hand Dance Company, George Rhoads, Flava Flav, Alien Farm, Tall, and many more.
- Page 7 of Offline, a retrospective 1990-2003 (PDF)
After watching Untitled #2 – Kromatose 1996, I began thinking about my use of technology at that time. The tape is a document of experimenting with multiple generations of analogue dubs and scrubs. I am not sure if I was aesthetically into blowing out the color and sound as much as I was into pushing the tools and media to the brink. I recall hitting the wall while making these tapes — there was a point of degradation that frustrated me.
Around that time, the television industry was buzzing with the promise of digital “non-linear” tools. I was looking for the ability to layer multiple videos, create samples, and make micro edits. Digital video promised to make life easier and make my videos better. I consumed as many articles and demo tapes as I could get my hands on.
The Toaster was released as a commercial product in October 1990 for the Commodore Amiga 2000 computer system, taking advantage of the video-friendly aspects of that system’s hardware to deliver the product at an unusually low cost.
- Wikipedia: Video Toaster
CATV didn’t end up getting a toaster, but they did have the demo video above. Years later, they ended up getting a Play Inc. Trinity system. I was one of the few that were trained on it. I was ready for it to take my work to the next level.
First of all, it looked like a Klingon soda machine sitting in the edit suite. Second, it sucked. Needless to say, I was disappointed, but, it made me realize that it isn’t about the tools; it’s about how you use them. I began to be interested in the physical systems that facilitated the manipulation of media. I realized that there wasn’t a “right” way to create videos. It was (and still is) a balance of standards, formats, compatibility, and intention.
I became interested in the artifacts that certain systems and machines provided. I cued into the nuances that the tool designers and engineers left within machines. From menus lay-out to input and output options; I became interested in the “wrong” way of connecting systems and machines.
My work has obviously evolved since then, however, I feel that there is a through-line. Looking back, I feel that the broken promise(s) of early “non-linear” video systems gave rise to my critiques of upgrade culture and attention to artifacts.
This was also pulled from an archive...I can't remember where it's from, my first guess is that it's a page from Radical Software
Glitch: Investigations into the New Ecology of the Digital Age
Eye & Ear Clinic – School of the Art Institute of Chicago – 11.9.09 [on Facebook]
Glitch: Investigations into the New Ecology of the Digital Age curated by Nick Briz
“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.” 1
- Kim Cascone
Glitch art is aestheticized and fetishized technological [human] errors or anticipated accidents that can produce unintended [desired] results. Glitch is digital entropy; it’s data-moshed-compression-artifacting-dirty-new-media-digi-noise. Glitching, ,as a process, is inherently reliant upon technology yet surprisingly accessible and executable. 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. Glitch art, both formally and conceptually, is resistant, foregrounding a critical relationship to the digital culture in ‘which we find ourselves mired. Glitch: Investigations into the New Ecology of the Digital Age 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 critically address pertinent issues within digital culture, and in culture at large.
“From a media history standpoint it is also interesting to anthologize aspects of media, such as glitches, for they may be forgotten when our signals become more perfect and our glitches less visual” 2
- Iman Moradi
Though glitch as a visual (still) medium has been around for the better part of a decade and glitch music for some time before that, the focus of this program is the more contemporary pheno-menon of glitch as m-ov-ing image, in particular single channel video work.
Glitch art can function as a microcosm for new media art, foregrounding critical relationships to digital culture and/or culture in general. This potential is realized and explored by the artists in this program.
These artists take otherwise irritable and undesirable erroneous occurrences/malfunctions and embrace them as form. In their practice, as well as in many of their writings and research, errors and/or bugs are reshaped sometimes into elegant painterly digitalism, other times into a poetic and essayistic discourse, and often into spastic abrasive assaults of visual/audible noise. These works critically address issues of identity, memory, time, entropy, and chance in ways that may reflect on society’s dependency on technology questioning our understandings and relation to over-saturated-information-upgrade-culture. They attack the technological conventions that have been assumed, and 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 art is not exclusively technical: the most basic methods utilized by glitch artists can be easily taught, learnt and executed. Methods such as datamoshing3 and wordpad glitching4 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.
_________________________________
1 Moradi, Iman, et al. Glitch: Designing Imperfection. New York: Mark Batty Publisher, 2009. p19
2 Ibid, p9
3 http://www.youtube.com/watch ?v=tYytVzbPky8
4 http://www.animalswithinanimals.com/stallio/2008/08/databending-and-glitch-art-primer-part.html
Program:
1.Universal Process Leader.2009
Achim Stromberger.0:17
http://achimstromberger.wordpress.com/
2.The Memory of a Landscape.2004
Tatjana Marusic.12:00
http://tatjanamarusic.com/
3.Accidents in Celluloid and Pixels.2009
Rosa Menkman.2:33
http://rosa-menkman.blogspot.com/
4.NES Glitch
Compilation(excerpts).2001-2004
Johnny Rogers.6:00
http://www.geojedi.org/
5.green.qt_slippage.mov.1999
jonCates.0:02
http://systemsapproach.net/
6.Basement Bleeds.2009
Jimmy Joe Roche.1:16
http://www.jimmyjoeroche.com/
7.Power Wagons.2009
Jimmy Joe Roche.9:38
http://www.jimmyjoeroche.com/
8.Polygon Sun.2005
Johnny Rogers.3:38
http://www.geojedi.org/
9.Eagpostmucng.2009
Jon Satrom.0:25
http://jonsatrom.com/
10.Binary Quotes.2008
Nick Briz.5:32
http://nickbriz.com/
11.Rex.2005
Karl Klomp.3:32
http://karlklomp.nl/
12.Bellow.2009
Nick Salvatore.2:25
http://www.vimeo.com/user1222245
13.KANYE WEST “Welcome To Heartbreak” Directed by Satrom.2009
Jon Satrom.2:10
http://jonsatrom.com/
14.Tekfet.2009
Karl Klomp.6:37
http://karlklomp.nl/
15.Shannon’s Entropy.2008
Evan Meaney.6:03
http://www.evanmeaney.com/
16.Together In My Freezer/Washmountain.2.2009
Rosa Menkman.2:38
http://rosa-menkman.blogspot.com/
11.Sigrna-Fugue.2009
Evan Meaney.11:53
http://www.evanmeaney.com/
18.Untitled(Pink Dot).2006
Takeshi Murata.5:29
http://www.takeshimurata.com/
Put a key-frame on it (motion.test)
I’ve always wanted to dance like Beyoncé. I am currently taking lessons from her on my computer in preparation for a video I plan to make…
Stanley Kubrick Cover This YouTube In Blood
Stanley Kubrick Cover This YouTube In Blood executed by Jon Satrom using Guthrie Lonergan’s:
http://www.theageofmammals…. JavaScript and The Shining: “Blood Door Scene” on YouTube
Sandin Image Processor in realtime
Here is some documentation of students patching an analogue computer built for realtime video manipulation in the class at the School of the Art Institute of Chicago I teach called “realtime.”
Cosmos Remixed
Another Auto-Tuned goodie…
Carl Sagan – ‘A Glorious Dawn’ ft Stephen Hawking (Cosmos Remixed)
“If you wish to make an Apple Pie from scratch, you must first invent the universe.”
by: melodysheep
