// Tivoli: No Mans Land // Video Vortex //

Tomorrow (8/11) I will do some visuals at the Born Digital No Mans Land party, to celebrate the fall of the Berlin wall 20 years ago, in Tivoli de helling, Utrecht. Together with Skate (De) I will support Apparat (De) I made a special set for it, full of destroyed territories (or something like this).

The Video Vortex (20-21/11) website is online! Video Vortex will take place as part of Cimatics Festival (where I also did a performance last year), in the Atomium, Brussels. I will be presenting the Glitch Studies Manifesto I am still working on. It will be part of the 'system flaws and tactics' panel. The first 5 point of my manifesto can be read here. More to come, and feel open to critique/suggest things!

Glitch Studies Manifesto (5)

5. The gospel of glitch art sings about new models implemented by corruption.
The popularization and cultivation of the avant garde of mishaps appears to be predestined and unavoidable. Glitches have often shown to be the early development of a next fashion, or the creation of a new archetype. These new, enchanting forms seem to be inevitably connected to the creation of new filters. Moreover, in contemporary culture, we are so used to data fraud that the ‘right way of using' does not exist anymore; instead, misuse and abuse have become new commonalities.

Like in poetry, in glitch art one perception immediately leads to a next perception. Glitch art is all about relaying the membrane of the normal; to create a new protocol after breaking the earlier one.
The perfect glitch shows how destruction can change into the creation of something new, while at the same time this creation annihilates an otherwise infinite realm of possibilities. Once the glitch is understood as an alternative way of representation or a new language, its tipping point has passed and the essence of its glitch-being is vanished. The glitch is no longer an art of rejection, but a shape or appearance that is recognized as a new form (of art). Artists that work with glitch processes are therefore often hunting for a fragile equilibrium; they search for the point when a new form is born from the blazed ashes of its precursor.
The procedural essence of glitch art is therefore opposed to conservation; the experience, perception and understanding of what a glitch is at one point in time cannot be preserved to a future time. The beauty of creation of a glitch is uncanny and sublime; the artist is trying to catch something that is the result of an uncertain balance, a shifting, un-catchable, unrealized utopia connected to randomness of idyllic disintegrations. The essence of glitch art is therefore best understood as a history of movement and as an attitude of destructive generativity; it is the procedural art of non con-formative, ambiguous reformations.
Some artists do not focus on the procedural entity of the glitch. They skip the process of creation-by-destruction and focus directly on the creation of a formally new design, either by creating a final product or a new way to recreate the latest archetype. These works can for instance result into a plugin, a filter or a new 'glitching software'.
This form of 'conservative glitch art' focuses more on design and end products then the procedural breaking of flows. We can voice an obvious critique; to design a glitch means to domesticate it. When the glitch becomes domesticated, controlled by a tool, or technology (a human craft) it has lost it enchantment and has become predictable. It is no longer a break from a flow within a technology, or a method to open up the political discourse but instead a cultivation. For many actors it is no longer a glitch, but a filter that consists of a preset and/or a default, it has become just a new commodity.
But for some, mostly the on the receptive end, these designed glitches are still experienced as breaks or errors in a flow. Glitch art consists of an assemblage of perceptions by multiple actors. Therefore, these new filters that come to existence after the momentum of glitch cannot be excluded from the realm of glitch art.
Even so, the utopian fantasy of 'technological democracy' or 'freedom' that glitch art is often connected to, has little to do with the colonialism of these glitch art designs and glitch filters. If there is such a thing as technological freedom, this can only be found within the procedural momentum of glitch art, -when it is just about to relay a protocol.

Glitch Studies Manifesto (4)

4. Use the glitch as an exoskeleton of progress. Find catharsis in disintegration, ruptures and fractures.
Manipulate, crack and break different actors: bend them towards the point where they become something new.

The glitch is a wonderful interruption that shifts an object away from its ordinary form and discourse. For a moment I am lost, in awe, asking myself what this other utterance is, how was it created. Is it perhaps ...a glitch? But once I named it, the momentum -the glitch- is no more...

The glitch has no solid form or state through time; it is an ephemeral, unexpected, abnormal mode of operandi, a break from (one of) the many flows, a grinch. As my understanding of the glitch changed and I named it, so did the equilibrium of the (former) glitch itself: it has vanished into the realm of new conditions.
Determining what a glitch is, is often misunderstood as a subjective act. We have to realize that the glitch depends on more than just a personal or even a social definition. The glitch involves different levels of reading at the same time: it is a form of micro-politics that causes breaks within technological, social, political and many other (flows within) systems. As semantic terrorism within an irrational matrix it temporarily voids all possibilities for understanding. But somewhere within these constructed ruins of meaning a feeling of triumph exists; a hopeful feeling that there is something more than just destruction. The negative feeling makes place for an intimate experience of a machine (or program), a system showing its formations and its flaws – as a holistic celebration rather than a particular perfection it reveals a new opportunity, or a spark of creative energy. A feeling that something new is about to be created.

The derivative art form, conveniently called 'glitch art', moves like the weather; sometimes it evolves very slowly while at other times it can strike like lightning. The art works within this realm can be disturbing, provoking and horrifying. Beautifully dangerous, they can at once take all the tensions of other possible compositions away. These works stretch boundaries and generate new possibilities: as an avant-garde of mishaps they break up previously sealed politics and force a catharsis of conventions, norms and believes.
But the word 'glitch' within 'glitch art' means more than just the technological definition of glitch. Glitch art does not just take place on a surface, and does not just disappear after its tipping point. This art form is also about what happens after the tipping point, how media transgress into a new mode and even what happens after this transgression (the normalization). This mode can be continuous, or exist just as a reflection (a memory) in our mind. Furthermore, it can choose to focus on the procedural, or more on a final design. One way or the other, the choice to 'accept' the glitch by naming it (glitch art) and to welcome it as a new form, means to accept change and to welcome a new dialectic.
Glitch art is therefore not always (or by everyone) experienced as an art of the momentum; many works have already passed their tipping point and are now created by a new method and exist as a new, recognizable form, the design of glitch.
Glitch art not only depends on its system but also on the different actors within these systems. Not only the artist who creates the work of glitch art is 'responsible' for the glitch. The 'foreign' input (wrongly encoded syntaxes that lead to forbidden leakages and data promiscuity), the hardware and the software (the 'channel' that shows functional? collisions) and the audience (who is in charge of the reception, the decoding) can also be responsible. All these actors are positioned within different (but sometimes overlapping) flows of which the final product can be described or recognized as glitch art.
Another reason to call these works of intended, controlled glitch art 'glitchy', is because these works exists within different systems of perception; for instance the system of production and the system of reception. While the artist might not call his production method glitchy, the audience could still believe in the glitchy-ness of the result. This is why an intended error can still be called erroneous (glitchy).

Glitch Studies Manifesto (3)

3. Get away from the established action scripts and join the avant-garde of the unknown. Become a nomad of noise artifacts!
There are three occasions when the static, linear notion of transmitting information can be interrupted. These instances often result into noise artifacts, sub-divisible as glitch, encoding / decoding (compression) and feedback artifacts.

Etymologically, the term “noise” refers to states of aggression, alarm and powerful sound phenomena in nature ('rauschen'), such as storm, thunder and the roaring sea. But when we approach noise within a more social context, noise is often used as a figure of speech and as such has many meanings.
Sometimes, noise stands for unaccepted sounds, not music, not valid information or what is not a message. This negative definition also has a positive consequence: it can help by defining its opposite (the world of meaning, the norm, regulation, goodness, beauty and so on). Moreover, noise often helps to contextualize information.
Noise is thus paradoxical. It is the source for new patterns, anti patterns and new possibilities. Noise functions as a positive, generative quality (that is present in any communication medium) and exists on the border (the membrane) of language.
I use the concept of noise to refer to an (often undesirable, unwanted, other and unordered) disturbance or addition to the linear signal of useful data; a void of meaning.
This void can not only be used as a lack of meaning, but also as a power that forces the reader to move away from the traditional discourse around code, and to open it up, to understand the politics behind a text or technology. The void can bring the fundaments of communication that are normally obfuscated or the elements that we don't want to see to the surface; it can expose hierarchies. Through the void, artists can voice a critique towards the digital media.

Glitch Studies Manifesto (2)

2. Dispute the operating templates of creative practice by fighting genres and expectations!
We are all stuck in the membranes of knowledge, governed by social conventions and acceptances. As an artist I strive to reposition these membranes; I do not feel locked into one medium or between contradictions like real vs. virtual or digital vs. analog. Fight the techno religion! Surf (tube- ride) the vortex of technology, the art of artifacts.

The quest for complete transparency has changed the computer system into a highly complex assemblage that is often hard to penetrate, or sometimes even completely closed off. This system consists of layers of obfuscated protocols that find their origin in ideologies, economies, political hierarchies and social conventions, which are subsequently operated by different actors.
I elucidate and deconstruct the hierarchies of this system of assemblage. I do not work in (binary) opposition to what is inside the flows (the normal uses of the computer) but practice on the border of these flows. Sometimes, I use the computers’ inherent maxims as a façade, to trick the audience into a flow of certain expectation that the artwork rapidly breaks out of. As a result, the spectator is forced to acknowledge that the use of the computer is based on a genealogy of conventions, while in reality, the computer is a machine that can be bent or used in many different ways. With the creation of breaks within politics and social and economical conventions, the audience may become aware of the preprogrammed patterns and a distributed awareness of a new interaction gestalt can take form.

Glitch Studies Manifesto (1)

1. The dominant, continuing search for a noiseless channel has been, and will always be no more than a regrettable, ill-fated dogma.
Even though the constant search for complete transparency brings new, ‘better’ media, every one of these new and improved techniques will always have their own fingerprints of imperfection.

In the beginning there was only noise. Then we moved from the grain of celluloid to the magnetic distortion and scanning lines of the cathode ray tube. We wandered the planes of phosphor burn-in, rubbed away our dead pixels and eventually watched performance art created by cracking LCD screens.
The elitist discourse of the upgrade is a dogma widely pursued by the naive victims of a persistent upgrade culture. The consumer only has to dial #1-800 to stay on top of the technological curve, the waves of euphoria and disappointment. It has become normal that in the future we will pay less for a device that can do more. We have to realize that improving is nothing more then a proprietary protocol, a deluded consumer myth about progression towards a holy grail of perfection.

Publications -- some self shame/shameless selfpromotion

I am never sure if I should post these publications that I am somehow involved with, it seems a bit self aware or something. However, there is some good stuff, so here we go.. full on...
# In the begin of the summer Eva Sancho interviewed me for Nisimazine. The resulting piece is a small but good introduction to (some of) my work.
# Accidents in Celluloid and Pixel lost the Celluloid Remix competition at the Dutch Film Festival (NFF), but did get some feedback on a diploma signed by Dutch-Remix-Whizzkid-Guru Eboman: Starts annoying, becomes nauseating/rotten (free translation by me). Apparently in some Dutch slang (I am not familiar with) this means something positive. The comment works perfect for a glitch film anyway. hehe.
# Nick Briz is organizing periodical glitch events in and around Chicago. He used some of my films for the Eye and Ear Clinic (we need something like this in Amsterdam). He also wrote a piece for the student paper fnewsmagazine in which he used an image by me.
# It seems that Rafolio has finished his master thesis on digital decay. The pdf download is put together with a lot of effort and features some works by me (an honor to be part of that, really). It was especially nice to see that he picked the 404void.iq project (that I did in 2007) as one of his research subjects. I have actually been considering to do a 2009 sequal of the project, to see how much the Iraqi web has evolved in the last 2 years.
# Last Friday, Richard Rogers presented the IPbrowser at Impakt online festival in Utrecht. A project I worked on at DMI (together with oa. Alexander Galloway) and that later received support by Impakt.
# Kind of late and therefore less interesting: Radio Dada was part of the Intermerz program and screened at LEV Festival (Gijon, Spain) and TERRITORIOS DIGITALES 2009 (Sevilla, Spain). The video was also part of the Pixel Project collection. Performative Fail is part of the persuit of rejects project >> something will happen with this but I am not sure what.
# Second last and weirdest, I found a rather old interview of me and Goto80 at HAIP festival for Open Source Radio FRO in Ljubljana. Its awkward to listen too (at least for me). But now we got that out of the way too!
# Last but most interesting: I will be presenting my Glitch Studies Manifesto at Video Vortex, Brussels (20 November 2009) in the panel `System flaws and tactics`. The conference takes place in one of the spheres of the Atomium Funny how my latest glitch presentations take place in highly ordered places like the Hilton Hotel and a molecule structure.
# oh I cheated, one more small thing, I started my PhD last week at the KHM. It is a practice based PhD on artifacts. An outline and presentation will follow soon!

Towards a conceptually endorsed synesthesia

To remove the barriers between sight and sound,
between the seen world and the heard world!
To bring about a unity and a harmonious
relationship between these two opposite spheres.
What an absorbing task!
The Greeks and Diderot, Wagner and Scriabin –
who has not dreamt of this ideal?
Is there anyone who has made no attempt
to realise this dream?
- Sergei Eisenstein [1]

The word synesthesia stems from the ancient Greek words σύν (syn), "together," and αἴσθησις (aisthēsis), ‘sensation’. Traditionally, (in the field of neuropsychology) synesthesia refers to an anomaly in the human brain (estimates vary between 1 in 20 and 1 in 20000) that results into the transference of an experience by one sense into another. This means that people with synesthesia can, involuntary, for instance ‘see’ sounds, ‘taste’ shapes, and so on.[2] Although synesthesia has been the subject of intense scientific investigation during many centuries, modern researchers have only recently rediscovered the concept. Today, both artists and scientists research synesthesia and the rules that “should be applied to transform sound into image, spatial movement into timbre or harmony into color."[3]
Because synesthesia is a highly subjective matter that only relies upon what is referred to as an anomaly, scientists and artists have not been able to trigger the effect purposefully. Consequently, in the arts the concept of synesthesia has evolved into a metaphor that relates to the act of crossing boundaries between different disciplines or fusing different media into one work.[4] An example of this is the integrated, ‘complete artwork’, which originates from 1849, when the German opera composer Richard Wagner first described his Gesamtkunstwerk. For Wagner, the individual arts of painting, dance, music and poetry had progressed as far as they could. He described that the future of the arts lied within the Gesamtkunstwerk, a synthesis of the poetic, visual, musical and dramatic arts. This total work of art would speak to all the senses at once and result in total immersion.[5]

A Color Box (Len Lye, 1935)
After 40 years of more or less successful attempts to record sound and moving image synchronised, it was Len Lye who finally set out to prove once and for all that music and video together could be part of the language of art. Lye is known to have stated: "All of a sudden it hit me. If there was such a thing as composing music, there could be such a thing as composing motion."[6]
Driven by a lack of money, Lye started off inventing new, controversial ways to create film without a camera. In 1935, he made the experimental movie A Colour Box. In this movie he color-painted and scratched the celluloid, connecting the visuals to the tunes of a Caribbean jazz piece. In 1937 A Colour Box was acquired by the General Post Office, who reissued it with the addition of a 'cheaper parcel post' message. The video continued its existence as a commercial.[7] Today, Len Lye is known as one of the pioneers of the music video genre.
Another telling example of cross modal practice finds its origin in the 1960s, when the artist Dick Higgins, a founder of the Fluxus movement, became well known for promoting interdisciplinary art practice. Following the example of Marcel Duchamp, Higgins calls for unusual combinations of genres. He popularises the term intermedia, which stands for media that investigate the border of multiple art practices. According to Higgins, in the realm of intermedia, any available object or experience can and should be incorporated into the artwork by mapping one structure onto another (in the digital sometimes referred to as transcoding). As a result, these intermedia artworks act in unpredictable ways, producing a new, more complex whole than its original parts.[8]
Variations V (John Cage and Higgins, 1965)
In 1965 John Cage answered to Higgins’ call for intermedia by composing the performance Variations V (with the help of David Tudor, Billy Klüver and others). As most of Cage’s works, the piece revolved around a central concept of chance. The play was generated on the spot, from thirty-five randomly equipped ‘remarks’ that outlined its structure, components, and methodology. The performance’ score was created within two different sound systems. The first sound system was dependent on directional photocells (light sensors) that were connected to an ‘orchestra’ of tape-recorders and record players. As the dancers moved around, they interrupted the light falling on the photocells, which switched the sound on and off. The second system used a series of antennas. When a dancer came within four feet of an antenna, this would initiate sound stemming from short-wave radios. In the background of the performance, screens would show a movie by Stan VanDerBeek and manipulated film footage from Nam June Paik.[9] Cage’s performance Variations V united technology, dance, video and sound, mapping their structures on top of each other, while leaving them dependent on chance. In doing so he created a noisy, multilayered synesthetic whole, that incorporated a cacophony sounds and visuals that stretched the limits of what was understood by the audience.

Today, only 50 years after Cage’s answer to Higgins plea for intermedia art practice, the combination of music and video technologies has become almost ubiquitous. On television there are music videos and jingles, while in discos it is the VJs that have taken the task upon themselves to reconstruct an atmosphere inherent to the music, to let the image expand the aural sensations.

During the last 50 years, throughout which we have seen the rise of digital technologies, not only the frequency with which we come across intermedia works has changed. It is important to realise that the means by which these works have been created, the technologies, also evolved considerably. Today the computer can be used to map the structures of music, like rhythm and pitch, upon a video, often even in real time. Because of its ability to create mathematical correspondences between for instance visual and sonic data, the computer has become an ideal tool to cut and paste layers of different media upon each other.
The development of this kind of digital equipment and the creation of such audiovisual works did not receive an undivided warm welcome. Critics argue that since the commodification of digital techniques that map video and sonic signals seamless on top of each other, the synesthetic audiovisual work of art is no longer extraordinary. What once was a complex study of audiovisual trans-coding, is now all to often reduced to a glossy, instant, generative software-show.
But not only the wide availability of proprietary digital technologies has stimulated the growth of this kind of audiovisual work. With the popularisation of open source platforms like Processing and Pure Data, and the everyday development of new custom software and plugins, it seems we have entered an era in which even custom development of audiovisual software has become an omnipresent standard. We have undeniably arrived at a time where art is fused together with a ready-made customisation culture, and where the plugin-VJ creates industrial wallpaper that morphs to the beat.

Advanced Beauty, Sample clip (flight404, 2007).
(one the most beautiful audiovisual transcodings I know, yet missing some kind of conceptual relation)
With the rise of digital technologies, the process of the artist working in audiovisual media has become all to often both in a lack of meaning or opaque. At present there seem to be over a 1000-plus-one options to transcode the sonic on to the visual. Every day new technical approximations of synesthesia are created, either by rearranging modular structures or from scratch. Even non proprietary software seems to have become just another type of commodity.
The results of this trend became clear to me during my visits to Mapping Festival (Geneva, April-May 2007) and Cimatics Festival (Brussels, 27-30 November 2008), where it struck me how many performances are centered around the presentation of new software that can map the properties of the music better, clearer or differently onto the visuals. As a result some shows were full of interactive wallpapers; the pictures were mostly very pretty, filling up the otherwise terrifyingly empty white walls.
I am of the opinion that these kinds of audiovisual performances often lack a story, symbolic content or concept. We have arrived at a point where the connections between the sonic and the visual have become as beautifully constructed as arbitrary, empty and hollow. “Digital technology enables us to synthesize and synchronize events in diverse media, but it completely bypasses the problem of symbolic representations.”[10] It has become increasingly clear that the development of digital technologies forces us to ask ourselves (as music video producers, VJs or even as an audience) how we can change the fusion of digital video and sound into a less arbitrary and more conceptually synesthetic, technological and meaningful whole.
Although I can imagine that non-modular mechanical and analogue devices would most probably force the artist to explore conceptual synesthesia more fundamentally, since their processes are not just a matter of trans-coding inputs into outputs, my starting point doesn’t lie within a choice of technique, or in a suggestion for a completely new, different set of technologies. I think it is most interesting to explore alternative strategies and concepts within the realm of the digital. In analogue works like A Colour Box and Variations V, the artists researched the technologies of their time and the perception of connections between optic and sonic waves. The works changed the world in the sense that they not only expanded the technologies, but also the human realities, knowledge and experience of the visual and the audible; noise entered the realm of what was accepted. With the help of technology these works created a new space for dialogue between the artist, the participant and the observer.
Although art and communication are often considered to be separate domains, Gerda Lampalzer claims that during the sixties, it was “usually the communication process itself that was central to intermedia artworks.”[11] Essentialist views of art have since then lost much of their prevalence – it is now common to say that a piece of art does not even exist without the human perception of it. Although this might be a philosophically biased statement, we can at least claim that artworks like Len Lye’s and Cage’s involve a form of communication through a technological medium.
In the sixties (and before), the merit of intermedia technologies was the creation of new forms of synesthetic art, which in its turn generated new spaces for dialogue. With the rise of digital technologies, most of the spaces for dialogue are now dominated by plugins that transcode data into other data, leaving the generated audiovisual works often empty and in a lack of symbolic meaning.
Tok Tek and Karl Klomp (Visuals) (New Dutch Electronics, 2007)
As VJs and music video creators, we have to try to get the meaning back into our works and not just focus on new techniques. By realising that the visual and the sonic are both realms of communication, we might be able to find correlations between the two, that can be used to open up a new realm for dialogue. Moreover, if we search for possibilities to break with the now formalised act of communication in both realms, we can create new forms of dialogue and create a new conceptually endorsed form of synesthesia

[1] Eisenstein, Sergei. Film Form [and] The Film Sense; Two Complete Unabridged Works. New York: Meridian Books, 1968. p. 87
[2] Ox, Jack. “Introduction: Synesthetic Fusion in the Digital Age.” Leonardo, vol. 32, no. 5 (1999): p. 391-392. 1 May 2009.
[3] Föllmer, Golo. “Audio Art.” Media Art Net | Overview of Media Art | Audio. 15 Feb 2007. 1 May 2009.
[4] Ox, Jack. “Intersenses/Intermedia: A Theoretical Perspective.” Leonardo, vol. 34, no. 1 (2001): p. 47-48. 1 May 2009.
[5] Packer, Randall, and Ken Jordan. “Overture.” In: Multimedia: From Wagner to Virtual Reality. New York: Norton, 2001: p. xiii-xxxi.
[6] Boucher, Marc. “Kinetic Synaesthesia: Experiencing Dance in Multimedia Scenographies.” Kinetic Synaesthesia: Experiencing Dance in Multimedia Scenographies. Contemporary Aesthetics 2 (2004). 1 May 2009.
[7] A Colour Box (Uk: Len Lye, 1937). 1 May 2009.
[8] Ox, 1999
[9] Media Art Net. “Media Art Net | Cage, John.” John Cage «Variations V» 1 May 2009.
[10] Hertz, Paul. “Synesthetic Art-An Imaginary Number?.” Leonardo, vol. 32, no. 5 (1999): p. 399-404. 1 May 2009.
[11] Helfert, Heike. “Technological Constructions of Space–Time Aspects of perception.” Media Art Net | Overview of Media Art | Perception 15 Feb 2007. 1 May 2009.

//ISEA 2009, Belfast //paper and powerpoints

ISEA is already a couple of weeks ago. I had my doubts about the conference as a whole but it was good to meet some new people. I presented this paper (its short, the max was officially 2500 words) about artifacts and also made some beautiful powerpoints (they asked for this explicitly so i only obey...)
Paper:"The use of artifacts as critical media aeshtetics"

Rosie in Picnic Wonderland