Club Fierce: Algorave – 4th October

On 4th October I’ll be back to live coding visuals for Fierce Festival’s Algorave.


And, as a special treat noteNdo will be making an appearance between his stops in Brussels and Berlin – all about the cities beginning with B!

Check out the Fierce Festival programme for full lineup and for more awesomeness happening at the festival!

Be algo-there or be algo-square!


I’m back in the UK after an amazing week teaching/guest lecturing at SAIC and performing at glitChicago. It was really great to see my friends and peers again, and to spread my knowledge and experiences of glitch art, new media art, and digital art as a whole. Enough yapping, here’s some photos from the exhibition by Paul Hertz:






A Bill Miller shot an overview video of most of the performances:

And he also shot a bit of my Sonification Studies performance:

The attentive amongst you may remember that I’ve been exploring sonification a lot recently. With this performance now completed I will soon write up my research and formally present the Pixel Player software that I wrote so that you may explore this area yourself.

Much <3's go out to Paul Hertz, SAIC, jonCates, everyone that participated in glitChicago, everyone that didn’t and my friends for bringing me back to Chicago and generally supporting my work ^_^

GIF Free For All

In early September I participated in the GIF Free For All online ehxibition, launched in conjunction with Computer Art Congress 4 – CAC4 Rio de Janeiro, and curated by A. Bill Miller. More info:

Animated GIFs can be created by anyone and are about anything. The animated GIF is ubiquitous and democratic. Online, it’s proliferation coincides with the developing ways we use the Internet. As a unique and accessible moving image filetype, animated GIF functions on the logic of openness and distributed networks in a time of increasing data surveillance and restrictions to access by governing bodies and corporate capitalization of data-spaces.

GIF Free For All is an online exhibition of animated GIFs created by 19 international artists. By acknowledging the range of contemporary and popular culture uses, this exhibition seeks to expand the conversation surrounding animated GIFs within Art contexts. By occupying server spaces worldwide, by circulating endlessly, by evolving and shifting over time, by looping and tiling in expanding frames and windows, the animated GIF is FREE FOR ALL.

For this I created two new gifs which make use of the [tof/animate] object in Pure Data and Inkscape:


Whitney Kimball of Art F City described my gifs as “a joke that you don’t get unless you watch both GIFs and read their file names”. Thanks!

Click through to see the gifs from the other 18 artists.

JPG Glitch Pattern Generator

Back in January I posted some images of funky patterns. Today I’m formally releasing the script that brought the funk.

JPG Glitch Pattern Generator

JPG Glitch Pattern Generator

Download them from Github.

The first script,, works by exploiting jpg compression on randomly generated images. The script starts by generating a 10px x 10px iamge containing three colours:


It then iteratively decreasese the quality of these images from 78 (or whatever quality you change it to) down to 0. It does this a number of times – defined in loop – whilst also scaling the image by 410% at the end of each loop.

If you uncomment line 31 you can save each frame in this process. These have been scaled to a common size to make converting to a gif or video that little bit easier.


The second script,, performs the same process but on an image you specify. Place a jpg in the same directory and it’ll be compressed and scaled. Here’s an image of sculptures by one of my favourite artists, Alexander Calder, as seen at the Museum of Contemporary Art, Chicago:


And then processed by the script:

Alexander Calder - JPG Glitch Pattern Generator

Like the first script, if you uncomment line 31 you can save each of the frames to individual files.


If you take a look at the scripts you will see that many of the variables can be easily changed. The loop count could be increasd, which would result in noiser images. Other processing could be done before or during the scaling and quality reduction. It’s all up to you!

Interview with Neon Vice

I recently did an interview with Neon Vice about my work and motivations behind some of my recent pieces.


Have a read ’cause, y’know, it’s interesting… or read it below.

How do you explain what you do to people who are unfamiliar with glitch art and how would you define it on a personal level?

I first tell the uninitiated that my art practice is about breaking stuff! There is obviously more to it, but drawing comparisons to broken TVs and corrupt jpgs usually gives people an idea of how this art manifests itself visually.

On a personal level my practice is an exploration into how things work, which has always been a prevalent theme. For example, my decision to exclusively use open source software and to also write my own software wasn’t originally born out of ideology; I wanted to know how software worked, and open source software let me do this easily. To that end, by breaking things apart I really just want to know how they work. I know there’s probably a manual somewhere, but I like this somewhat chaotic approach as it can yield unexpected results.

What are some of the programs and techniques you use to actually produce glitches and make it something that is visually and intellectually simulating?

I often make use of batch processing and generative practices in my work. Many of my illustration and graphic design pieces are just one iteration of a generative artwork. For example, Dataface is iteration 74 out of around 1000 files.

When it comes to writing software I often write bash scripts. This allows me to make use of many command-line programs including ImageMagick and sed which I often use. Bash is quite heavily tied to (L)unix, so I’m slowly learning Python which will allow more people to use my software.

For any live and interactive works I use Pure Data.

Making something that is visually and intellectually stimulating most of all requires having a good concept. For me the tools and techniques come second. With that said, for each major new piece I try and develop a new technique. And then, there are times where I develop a technique and sit on it until I find a concept that requires it. For example, the techniques and software for Variations on a Theme by Casey & Finch were written many years ago, probably 2010. It was only when Gabriel Shalom showed me Variations on a Theme by Casey & Finch by Erik Bünger – which is where my piece got its name from – that the software found a use. There’s several other bits of software that I haven’t released yet. I really don’t want to release stuff that is just pretty with little or no concept behind it.

Share with us how throughout your experimentation must have created uninteresting static, blank or broken images, and how you were able to correct it.

In generative artwork there is bound to be uninteresting output. For example, in Dataface, the first set of iterations are uninteresting because they resemble the original too much, and those towards the end are uninteresting because they are too noisy. My role in all of this is to decide which of those becomes the finished piece. So, there is no process of me fixing or correcting anything, just discarding those which don’t suit their purpose.

When I provided visuals for Come Heavy Sleep KILN actually requested that I generate white noise, so really having knowledge of how to create that is always useful.

Can you give our audience some background on Pure Data and how it helps facilitates many of your projects?

Pure Data is a visual programming language. That is, instead of typing out lines of code you create maps that describe the flow and manipulation of data. I’ve been using Pure Data for my a lot of my performance work since 2011, where I first used it for live visuals for BiLE.

Although I have experience in typed programming languages such as HTML5, Processing and a bit of C++, I like how I can visualise programming when using Pure Data. The ability to literally see how data flows from one function to another may better suit some people. It’s also great for building interfaces as you do this whilst writing programs.

What inspired the 3D and musical experience dubbed ‘Neon Plastic’? Who contributed to each aspect of the concept, design, coding, and execution of the project?

I believe it all started when Joe Newlin contacted me regarding my Pure Data JPG Creator some time around September 2013. We discussed some of the modifications he had made to the software, and from that we decided to collaborate on something. It was a bit of a slow process as we had a lot of our own commitments around the Christmas holidays but we picked it back up in early 2014.

We both liked the visual aesthetic of the video for Gantz-Graf by Autechre and so wanted to do something visually similar. We didn’t have a theme for the audio. The only rules we set ourselves was that it had to be generative and run automatically with no input from a user.

We both worked on our separate parts – myself on visuals and Joe on audio -, checking in occasionally to share our progress and steer each other in different directions. The collaboration definitely strengthened towards the end of the project where we were seeing how data we were creating individually could be shared and manipulated.

I’ve seen that he’s used the visuals patch in a few of his own live performances and I’ve definitely reworked his audio patches in some of my as yet unreleased work.


Your new Tumblr project ‘Copyright Atrophy’ takes well known logos, puts them in gif format, and breaks them down into fewer and fewer sided polygons. Is this project a statement, a study, or purely for aesthetics?

This project is a statement on the heated topic of copyright and remixing. At what point of remixing or reworking an artwork does it detach itself from its original author and copyright status? There have been many before me that have explored this concept in many creative ways (just look at Warhol), and so this is my gif-driven voice being added to the conversation.