(A) r4WB1t5 micro.fest (2005 - 2007)




jonCates and Ant Scott's format.fetish exhibition - Gallery1F (2006)


(ᴳ̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̇̐litch) Art Genealogies - curated by Daniel Franke, John McKiernan + Rosa Menkman at LEAP Gallery in Berlin (2013.03.19 – 2013.03.23)

/* my work incl'd in this exhibition. positioned as addressing GL1TCHYSTØRIES from perspectives that were presented as:

• 'not historically singular' +
• 'not encompassing historical or causal overview' but rather as
• 'threaded',
• 'discursive' +
• 'subjective' as well as
• 'intergenerational' of different communities
  

speaking of which my work in this exhibition is work on many different levels:

• in 2007 i founded the Phil Morton Archive, which the 1rst img is from
• in 2010 i made this artwork in the 2nd img, as an exxxperimentalLecture in GLI.TC/H 2010
• + my friend, colleague + former student Nick Briz made the Media Art work in the 3rd img which i commissioned for an exhibition i curated called REMIX-IT-RIGHT

so these works incl'd in this exhibition expresses another specific form of genealogical rltns */

Glitch Aesthetics - Iman Moradi (2004)

"Pure Glitch
Is the result of a Malfunction or Error.
There is a great deal of scope in the discussion of what can be classed as a Glitch. Primarily, in a theoretical, scientific and non-art sense, a glitch is assumed to be the unexpected result of a malfunction. The word glitch was first recorded in English in 1962, during the American space programme, namely in the writings of John Glenn where it was used to “describe the problems” they were having. Glenn then gives the technical sense of the word the astronauts had adopted: “Literally, a glitch is a spike or change in voltage in an electrical current.” (John Glenn, cited in American Heritage Dictionary 4th Ed (2000) )"
from: Glitch Aesthetics - Iman Moradi (2004)

PROPOSAL fOR GL1TCHYSTØRIES:

Claims have been staked in the unstable ground of Glitch Art hystories. Can multiple and parallel Media Art Histories of Glitch Art co-exist openly or do these instabilities represent glitches in histories themselves?

/* staking claims in unstable grounds
staging Media Art Histories */

Pete Conrad with U.S. Lunar Flag on Apollo 12 - November 1969


#84 - But, Is It Okay To Desecrate A Digital Image Of The Flag? - GlitchingNo (2013)

" Mayhaps this is a Glitch Era in which we experience a specific kind of breakage based on the broken promises of the Modern Era. An American Modernist promise of endless utopic improvements to life based on technologies, leading each generation beyond the apex of the last, into better and brighter tomorrows now appears clearly hollow and false. We humans live in a broken world, a technologized world of our own making. The technological is a socially constructed set of ideas and realizations of material power that shift and shape over times and fundamentally inform and affect our understandings of ourselves, glitches, nature, the natural world, the technological worl, specific Digital Art technologies and our Arts in Technological Times." from:
jonCates interviewed for AXIS 2013 INTERNATIONAL ART FESTIVAL - Una Dimitrijevic (2013)

/* why unstable grounds? based on brokenness, instabilities, on glitches + Glitch Art
also, multiple definitions + differences can be identified between "glitch" + "Glitch Art"

• glitch as “an accident or the result of misencoding between different actors” - Rosa Menkman (2010)
• glitch art as "art that exploits certain characteristics of glitch, for instance the fingerprints of the system, or maybe the shock effect." - Rosa Menkman (2011)

multiple definitions co-exist, complicate or even include one another
'incompleteness' of Media Archeologies +/or Media Art Histories via Erkki Huhtamo's keynote

like playing a Glass Bead Game set in the future, the rules of which are unknown
or trying to capture reflections of reflections in a Net of Indra which become more complex as they become more numbered + reflexive
witnessing yourself returning to yourself as another self
not branching narrative b/c that forking structure still maintains 1 true point of origin, 1 originary truth claim
but rather the radical co-existing of multiple realities
methaphors of interconectedness, relationality  + multiplicities
the point here is: pluralities */

MEDIA ART HISTORIES

/* recently i was invited to curate an exhibition + events series in Regina Canada in which i made certain claims explicitly + implicitly about glitch, Glitch Art + GL1TCHYSTØRIES
i gave a talk entitled: I Don’t Believe In Glitch Art but I Do Believe In You
by this i mean that i do not believe in Glitch Art as a specialized area of artistic activity or theorypractice
this is not to say that i did not previously. i did, however, those daze are vey literally over. they are in fact, Media Art Histories now */

_ģ̶Ł̶1̶ɫ̶C̶ʮ̶_Δ┌┼_INTERNATIONAL SYMPOSIUM, EXHIBITION, WORKSHOP, DISCUSSION, EVENT... - jonCates (2013)

CONTINUUMS: PRE-GLITCH ⇌ GLITCH ⇋ POST-GLITCH
PRE-GLITCH ⇌ GLITCH ⇋ POST-GLITCH

2012: Year of the GLI.TC/H - SXSW (2013)


pre-glitch - GL1TCH.US - post-glitch @ SXSW - jonCates (2013) from jonCates on Vimeo.




(a) r4WB1t5 micro.Fest remix by dmtr of an img of Celina by noisydaughter/ (2005)

"Dirty New Media is an idea i developed in 2005 as a part of a series of festivals i initiated and organized with Jon Satrom, Amanda Gutierrez, Jake Elliott, Jason Soliday, Arcangel Constantini, Juanjose Rivas and many others Dirty New Media artists... This series, called (A) r4WB1t5 micro.fest, was an international decentralized and open platform. Dirty New Media means dirty as in raw, direct, explicit, noisy. Or as i wrote in 2005, it also means dirty in the sense of broken, crashing, messy, desirous, leaky and open. My naming of Dirty New Media is also meant to imply the existence of a counter-example, i.e. to suggest that a category of "clean New Media Art" might exist that Dirty New Media Art could be an alternative to or in contrast with... Dirty New Media is a culture of what is now often known as Glitch Art. The terms Glitch Art and Dirty New Media are now often used in relation to one another and even used interchangeably to refer to the same art projects or similar theory-practices." from:
jonCates interviewed for AXIS 2013 INTERNATIONAL ART FESTIVAL - Una Dimitrijevic (2013)

Dirty New Media in Chicago AKA CH1C∆Gø D1RTY N3W M3DI∆ (2005 - present)


Round Robin - Chicago's Dirty New Media at the MCA from F Newsmagazine on Vimeo

Golan Levin invoking Nam June Paik’s Magnet TV @ Conversations At The Edge (2009) THEN Rosa Menkman invoking Nam June Paik’s Magnet TV @ Conversations At The Edge (2010 )THEN Gabriel Menotti invoking Nam June Paik’s Magnet TV @ GLI.TC/H Birmingham (2011)


Magnet TV - Nam June Paik (1965) && %WRONG BROWSER - JODI (2001)

GL1TCHYSTØRIES include various vector-views (subjective perspectives and agendas), multiple meanings and technosocial, cultural and material histories of glitch and Glitch Art. Glitch Art as an art is also connected to and anticipated by various disciplines such as music. Noise is a type of music which comes from musical traditions such as Musique concrète and Art Historically originates from Futurist, Dadaist, Surrealist and FLUXUS. Histories of experimental electronic musics such as the increasingly accessible musics of Kraftwerk, Throbbing Gristle, Psychic TV and the developments of Avant garde Sound Art and experimental electronic musics into Industrial Musics to EBM (Electronic Body Music), Cybergoth, IDM (Intelligent Dance Music), Rhythmic Noise, Digital Hardcore and Dubstep, microsound or post-techno and more currently to the preset variations of Glitch Hop and the promiscious self-selected subgenres && categories created by musicians themselves, i.e. those using tags they create on their Soundcloud accounts...

Experimental Media Arts (through the interelated fields of Photography, Film, Video, New Media & Animatio)carry forms of enframing and informing through technological and technosocial specificities. Formats such as analog and digital photographs, 16mm film or analog and digital video carry specific traces. Examples of these traces that can be exploited, expanded or extended include: grain, flickr, dirt, dust, scratches, hair, loose gates, tears, melting, burning, chemical damage or deterrioration, static, dropout, generational loss, mistracking, time base errors, misencodings, memory leaks, display card malfunctions, shearing, tearing, incomplete renders, buffer overflows, missing keyframes, miscalculations, systems crashes, hardware failures, clipping, ...etc. These example traces can also be considered causes that may operate alone or together. Overall, these influencing factors or seeds of glitch constitute Noise, in the classic sense Cybernetics or Information Theory definitions of noise as interference in signal transmissions including communications between humans and machines. This definition of noise is the unwanted...

PRE-GLITCH SHARING → GLITCH EXXXCHANGES, COMMUNITY FORMATIONS, CONVENTIONS or TENDENCIES (i.e. GLITCH FORMALISM + gL1TɔHƒ4CΣz); STABILIZATIONS, CODIFICATIONS of POST-GLITCH: GLITCH ART APPS, PRESETS + PALETTES:

databenders Yahoo Group (2001 - present)

"Sound Synthesis using Raw Data. Also including discussions of cd-bending, data-to-image, image-to-sound and other related techniques" - databenders
community, DIY, DIT, skillshares, self-directed learning and experimentation i.e. via stAllio AKA Benjamin Berg:

TIFF Compression glitch - Rosa Menkman (2010)

Databending – Process - Květoslav Bartoš (2012)


"Glitch" VST plug-in - ILLFORMED (Kieran Foster) (2005)


GLTCH - Oskoui+Oskoui, Inc. (2013.06.05)
"glitch art is easy"


Satromizer - jon.satrom and bensyverson (2002 - present)

The Satromizer for iPhone™ is "the world's first multitouch glitch tool". As Ben Syverson writes, The Satromizer is "a unique artware for the iPhone™ and iPod® Touch". Syverson also writes that he "has created many versions of the Satromizer with Jon over the years". The 1rst versions of the Satromizer were developed by Syverson when he and Satrom were both students of mine in 2001. The initial Satromizer emerged from a discussion/consideration of Brian Eno's speculative Eno Box.
In 1995 Brian Eno was interviewed for Wired Magazine by Kevin Kelly. during this interview Kelly asked Eno:
"If I could give you a black box that could do anything, what would you have it do?"
Eno replied:
"I would love to have a box onto which I could offload choice making. A thing that makes choices about its outputs, and says to itself, This is a good output, reinforce that, or replay it, or feed it back in. I would love to have this machine stand for me. I could program this box to be my particular taste and interest in things."
Eno continued in his response to a follow up question:
"...I want to be able to sell systems for making my music as well as selling pieces of music. In the future, you won't buy artists' works; you'll buy software that makes original pieces of "their" works, or that recreates their way of looking at things. You could buy a Shostakovich box, or you could buy a Brahms box. You might want some Shostakovich slow-movement-like music to be generated. So then you use that box. Or you could buy a Brian Eno box. So then I would need to put in this box a device that represents my taste for choosing pieces."

CODING BLACK BOXES, TRANSPARENCIES && SOFTWARE AS ART OR ARTWARE IN THE CONTEXT OF GLITCH

GL1TCHYSTØRIES Proposal:

areas of continued study, further research && combined wwwryting along continuums of pre-glitch ⇋ glitch ⇋ post-glitch in areas of theorypractice such as:

• aestheticonceptechniques: most work alrdy done in this area. shared online. widely available
• local hystories i.e. Amsterdam, Chicago, Mexico City, etc...
• nonlocal communities i.e. listservs such as databenders, ------__ K F 0 R \\----------------------- + online actors such as Netochka Nezvanova, etc...
• reports from exhibitions, events + conferences i.e. Sonic Acts, Crash + GLI.TC/H, etc...