Tag Archive for 'Birmingham'

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GLI.TC/H BIRM preview: Screening part 1

Published on 15/11/2011 in Events. 0 Comments Tags: Birmingham, gli.tc/h, GLI.TC/H 20111, glidottcslashh, glitch, hacking, vivid.

GLI.TC/H has started and on Saturday November 19th it’ll be making its way to VIVID in Birmingham, UK! The full programme is available here, and as a PDF. Over the week I’ll be providing a bitesized overview of the upcoming events.

Screening: Jeff Donaldson – Pin 1/12 effect

Bio

Jeff Donaldson is a multimedia artist, guitarist and composer of electronic and acoustic sound. An active member internationally in micromusic as the audio/visual project Notendo, solo work and collaborations as Odea Duo Vii, HD and Wzt Hearts, JeffÕs work encompasses a broad spectrum of audio/visual composition and improvisation. In 2001, with the intent to create animation entirely with his own hardware modifications, Jeff began creatively short-circuiting NES consoles. There is no new code involved, only raw, machine logic. This work has led to international recognition in new media art and has inspired people world-wide to pursue similar expressions.

Screening: Ben Baker-Smith and Evan Kühl (Vaudeo Signal) – Unsound

Bio

The creation of Ben Baker-Smith and Evan KŸhl, Vaudeo Signal explores synaesthetic experiences through the rudimentary interconnectivity of sound and light. Analog signals passing through complex, interconnected networks of archaic audio and video hardware result in complex visual and auditory feedback. The system incites change through the manipulation of its inherent noise. Ben and Evan have been performing Vaudeo Signal since their debut at the 2010 Gli.tc/h festival. For 2011 They are excited to have the opportunity to make an appearance at both the Chicago and Amsterdam Gli.tc/h events.

Screening: Evan Meaney – Ceibas: The Well of Representation

Bio

evan meaney is an american-born scientist who teaches time-based media design atÊthe university ofÊtennessee.Êhis research, curation and artistic practices delve into liminalitiesÊand glitches of all sorts,Êequating failing data to ghosts, seances andÊarchival hauntology. he has been anÊiowa arts fellow, anÊartist in residence at theÊexperimental television center, aÊprincess grace nominee, and a foundingÊmember ofÊGLI.TC/H. currently, evan is hard at work with the super computing team atÊoak ridge nationalÊlaboratoriesÊon new glitch projects made possible through generous funding fromÊthe national scienceÊfoundation.

Lecture: GLTI.CH Karaoke

Continuing their events at GLI.TC/H in Chicago and Amsterdam GLTI.CH Karaoke will be presenting their work, followed by a live performance!

Our aim is simple: to bring together people & collaborate on Karaoke duets. This desire, of course, is not innovative in itself; karaoke is one of the world’s favorite pastimes. Where GLTI.CH is different is its scope of our ‘bringing together’. So far, we have hooked up London with Kumamoto City, Japan & Seoul, South Korea. As a project that seeks to set up unnecessarily-elaborate portals of amateur singing, GLTI.CH Karaoke posits that there is discernible value & joy in 1) the collective stumbling & frustrations met in the face of tech limits, language barriers & time zone differences 2) oblique experimentation & 3) embracing & folding in “errors” in future iterations versus seeking to “overcome” or eradicate them. GLTI.CH Karaoke is not a solitary affair. At its simplest each event is the manifestation of sophisticated levels of collaboration & coordination between GLTI.CH & the attendees of each event, as well as the development teams of Livestream, Google+ & divX, & the individuals who selflessly hash together & upload karaoke videos to YouTube. Using the universal grammar of karaoke we posit the glitch as a site of artistic autonomy.

Sound a bit vague? Watch this video from a performance earlier in the year in London and Seoul:

Bio

Caught between a glide and a slipÊGLTI.CHÊKaraoke exposes the course of accidents, temporary lyrical disjoints and technical out-of-syncs. It’s not a hack or some fancy programming. It’s taking the frontend of things and trying to make something else. We’re Kyoung Kim and Daniel Rourke: writers, artists, researchers, wannabe hackers, amateur programmers at best. We kludge people together, breaching hopeless distances with cultural and technical make-dos. We cajole technology like 3-year olds with legos. WeÕve made the mishmashed world ofÊGLTI.CHÊKaraoke through play. And we hope youÕll sing with us.

Lecture: Blind Optics

Gabriel Menotti presents his paper entitled “Blind Optics:”

In order to investigate the relation between cinema and technology, it seems necessary to escape the medium’s own parameters of analysis. Taking a step in this direction, one might adopt Friedrich Kittler’s notion of “optical media,” a classification based not on the morphological effects of cinema, but on the operational principles of its apparatus. However, while Kittler’s framework discloses the mechanisms of figurative representation, it casts an even darker shadow over the constitution of technique. To analyse the cinematographic apparatus as purely optical is to ignore that its technical underpinnings are also mechanical and chemical, electromagnetic and computational. In order to bring these material aspects to the surface of the medium, one could borrow a strategy that has been largely employed with aesthetic ends: that of blinding or disrupting the camera eye. A vast tradition of video art and experimental cinema, recently joined by practices such as generative programming, presents visuals that are not produced by clear lenses, but that mostly result from celluloid film, electric circuits and digital codification. This paper calls attention to the ways in which this sort of blind optics produces images not by the means of abstracting the world, but through the abstraction of the bare apparatus. Thus, it sheds some light in the processes of inscription and transmission that ultimately constitute audiovisual media, allowing us to grasp some of their particularities.

Bio

Gabriel Menotti is an independent researcher/curator engaged with different forms of cinema. At the present time, Menotti is a concluding PhD candidate and a Visiting Tutor in the Media & Communications Department of Goldsmiths College. He has previously organized pirate movie screenings, remix film festivals, videogame championships, porn screenplay workshops, installations with super8 film projectors, generative art exhibitions and academic seminars.ÊAmong the recent events to which Menotti has contributed are Medialab PradoÕs Interactivos?! (Spain); the 16th International Symposium of Electronic Arts (Germany); the 29th São Paulo Art Biennial (Brazil); and Rencontres Internationales Paris/Berlin/Madrid.

Workshop: Glitch Codec Tutorial

Nick Briz presents a tutorial in creating glitch art by hacking video codecs:

This workshop/lecture is titled the Glitch Codec Tutorial. Here I demonstrate how to create the “glitch codec” a hacked piece of software I use to make intentional glitches. The Glitch Codec Tutorial is one way to experience glitch art. The Glitch Codec Tutorial can be used to make glitch art, but it is not a tool in and of itself. Rather, it is a means to a tool or, more appropriately, a means to a method[ology] of production.

Only 3 places left!

Bio

Nick is a new-media artist/writer/thinker/educator/organizer living and working in Chicago, IL; organizer for Upgrade!Chicago, a monthly art and technology series held at the Nightingale Theater; co-organizer/founder of GLI.TC/H; as an educator heÕs developed and taught courses on new-media art, Internet art + culture[s], remix art + culture[s] and experimental music; he developes digital/web/interactive projects for various clients with Branger_Briz. His work has been exhibited at festivals and galleries around the world and is currently distributed through Video Out Distribution in Vancouver, Canada as well as openly and freely on the web.