"Ways of Something", is a contemporary remake of John Berger’s BBC documentary, "Ways of Seeing" (1972). Commissioned by The One Minutes, at the Sandberg institute in Amsterdam and compiled by Lorna Mills, the project consists of one-minute videos by fifty eight web-based artists who commonly work with 3D rendering, gifs, film remix, webcam performances, and websites to describe the cacophonous conditions of artmaking after the internet.
Inspired by Rosa Menkman's Vernacular of File Formats, I wanted to create my own vernacular of lesser known and lesser used file formats including PCX, PPM and PIX. Using a clip from the 1994 film Reality Bites I demonstrated the different types of glitches that can be achieved in these file formats.
An exhibition at TROVE in 2012 that led on from the discovery that the Jewellery Quarter, Birmingham used to produce more "toys" than jewellery, guns or pens during the industrial revolution. It was discovered that the term "toys" was used to describe items such as buttons, cuff-links and belt buckles. TOYBOX was an exhibition of performances, modified and hacked toys, and films that explored the different interpretations of the word "toy".
Bring Your Own Beamer (BYOB) is an international series of one-night exhibitions inviting artists, armed with films and projectors, to convene and explore the art of projection in an immersive environment of moving light, sound and performance. In 2014 I curated the first edition of BYOB in Stony Brook, NY, as part of f(Glitch).
Bring Your Own Beamer (BYOB) is an international series of one-night exhibitions inviting artists, armed with films and projectors, to convene and explore the art of projection in an immersive environment of moving light, sound and performance. I curated the second edition of BYOB in Birmingham as part of Vivid Projects' 33 Revolutions programme.
Bring Your Own Beamer (BYOB) is an international series of one-night exhibitions inviting artists, armed with films and projectors, to convene and explore the art of projection in an immersive environment of moving light, sound and performance. I co-curated the first edition of BYOB in Birmingham as part of Flatpack Festival.
An engaging day of performances and interactive installations from digital artists, hacktivists and new media explorers from the West Midlands, Chicago and beyond. Artworks take the form of hacked and customised hardware, accessories, demos, lectures, data-mangling, projection and more!
This eclectic, expectation bending event is presented by Vivid Projects in association with artist/curator Antonio Roberts and The Barber institute of Fine Arts.
For a week in October 2010 the first GLI.TC/H event took place at venues across Chicago, IL. The event was one of the first of its kind to celebrate glitch art and and saw the coming together of glitch artists from around the world to experience gallery installations, performances and film screenings.
In 2011 the event expanded to also include Amsterdam, NL and Birmingham. With support from Arts Council England, Birmingham City University, VIVID and fizzPOP I curated the Birmingham event on November 19th 2011.
The event included workshops, presentations, film screenings and performances by artists from national and international artists.
A zine/series of images showing the journey of a pixel and how it can be mutated through different ways of manipulating it, specifically through glitch art.
What is presented is the simple manipulation of the cover image over twelve pages.
A generative Pure Data artware piece by L.A.-based artist Joe Newlin and Birmingham, UK-based artist Antonio Roberts, inspired by Neoplasticism and all things boxy.
The images and video act only as a preview. To experience this piece fully grab the code, open Pure Data and press the big red button!
The title of each piece reflects the location that they (the original pictures) were taken at. These were then reduced in size and quality using a number of different methods.
Using very similar methods, I extended this concept for a performance for the opening night of exhibition. All of the audio and visual content was source from the location of the performance which was then fed back and manipulated using lots of analogue and digital tools.
Phonemes are the smallest units of sound in a language. Unlike letters which describe how words are written, phonemes describe how words should be pronounced. There around 44 phonemes in the English language, though this varies with different accents and dialects.
In spɛl ænd spik I hand over the composition of these phonemes to a computer program and text-to-speech software. Unlike the process of haphazardly arranging letters, when phonemes are strung together there is less chance of the result being unpronouncable.
When compososed haphazardly by a computer do these new sounds make sense to human listeners? Can they be mistaken for English? Do changes in the voice, speed, pitch and gender of the computerised voice affect how we interpret these nonsensical sounds? Does the use of a human avatar help our understanding of these sounds as English words?
Inspired by Alvin Lucier's I Am Sitting in a Room piece I have taken Dataface one step further.
In glitch art we only ever see result of the process of damaging an image, video or sound. Rarely can we observe this process as it happens within the computer in an instant. Using Alvin Lucier's 1969 piece I Am Sitting in a Room as inspiration, in this piece I show the many steps taken to damage data to the point where it loses all meaning.
Font files are files that attribute a style to the otherwise plain text that we see on screen. The computer treats this only as an attribute of the text and can understand it regardless of what font file is used or how it looks to the viewer.
In this piece I have used a script, created in collaboration with G Bulmer, that explores the font file and damages it by randomising the values that construct each glyph. The computer, doing only what it has been instructed to do, continually attacks the font files' data to the point where it is sometimes corrupted and not even it can interpret it correctly.
The resulting video shows the gradual damaging of the data. The viewer will struggle to find meaning amongst the visual noise whilst the computer still understands it.
The full text reads:
I am sitting in a room different from the one you are in now. I have typed out this text using a font called Dataface and I am going to randomise parts of the font file's code and save the results of it again and again, until it's appearance becomes illegible and the font file is destroyed. What you will see, then, are the effects of randomisation, with the occasional glitch that occurs when the font file is so badly damaged that the computer is unable to read it. I regard this activity not so much as a demonstration of my ability to edit fonts but more a way to eliminate all meaning that this text might have.
In early 2012 I made a music compilation that attempted to summarise my musical tastes on a 700MB/80 minute CD. In order to share this I decided to reinterpret the songs as images.
The images were made by reading the audio files into Pure Data as binary data and then saving them as jpgs.
Imperica were the very first magazine/publication to interview me all the way back in 2011 for GLI.TC/H Birmingham. Since then the magazine is still going strong and they've recently launched an online shop where you can buy books, clothes(?) and other stuff. To celebrate this new venture I was asked to make some art!
The series, entitled Test Transmission, is, like the shop itself, an experiemnt and a bit of a risk, but one that will hopefully pay off eventually! They were made using various bits of hardware and software whilst I was in Arles for databit.me, which I'll write about shortly.
Y'all can buy them now for only £6.72.