Tom Richards has been walking the line between Sonic Art, Sculpture and Music since graduating with an MA in Fine Art from Chelsea College of Art in 2004. He has exhibited and performed widely in the UK, as well as internationally in the US, Germany and Sweden. Selected works and live performances have taken place at Tate Britain, The Queen Elizabeth Hall, the Contemporary Art Society, Spike Island, Zabludowicz Collection, Cafe Oto, MK Gallery, Bold Tendencies, Soundfjord, and Resonance FM. His ‘Broken Patchbay’ EP was released in March 2012. He is currently studying at Goldsmiths and the Science Museum for a PhD on the life and work of Daphne Oram; Electronic Music Pioneer and founder of the BBC Radiophonic Workshop. He lives and works in London.
Did you ever read a “choose your own adventure” novel as a kid? Ever meditate on the possibility of parallel universes? The idea that one event in time can have infinite divergent outcomes. The sound of a single instrument can be captured, manipulated, bent and twisted into something completely different, and yet using the same source, the same sound waves that carried the initial sound. The layering and intertwining of these related–yet divergent–paths of sound make up this piece.
Jesse Allison is a professor at LSU in Experiment Music & Digital Media. As part of the AVATAR initiative, he is actively performing research and collaboration into ways that technology can expand what is possible in the arts. Prior to coming to LSU, he helped to found the Institute for Digital Intermedia Art at Ball State University. He is also President of Hardware Engineering of Electrotap, LLC, an innovative media arts ﬁrm.
As an artist, Allison has disseminated works and research around the globe through live performance art, interactive installations, virtual and hybrid worlds installations, and paper presentations. Recent performances/exhibits include the Pixilerations Festival, New Instruments for Musical Expression (NIME), Siggraph, Techfest Bombay, International Computer Music Conference (ICMC), the IUPUI Intermedia Festival, Boston Cyberarts Festival, and SEAMUS. Allison received his doctor of musical arts in composition from the University of Missouri — Kansas City.
Longing and Forgetting
Longing and Forgetting is a generative agent-based work that explores public collaborative choreography by using mobile devices controlled by participants to gesturally interact with video characters. Based on the development of an interactive movement language the public can transform the multiple ghostly apparitions of video characters inhabiting the Chuck Bailey façade. The generative video artwork runs from January 24 to April 27th, with the interactive artwork premiering for the opening event on April 24, 2014.
Matthew Gingold (AUS), Thecla Schiphorst and Philippe Pasquier’s (CA) new generative video work,
This artwork is explored within a larger inquiry that explores how movement can be used more expressively and intelligently within interactive technologies. We conceptualizes mobile interactive technologies that can be applied to public urban screen spaces, with Longing and Forgetting premiering the demonstrations of this innovative research.
We gratefully acknowledge the support of the Social Sciences and Humanities Research Council (MovingStories & Mobile Presence), CANARIE (m+m: movement + meaning middleware) and the Natural Sciences and Engineering Research Council.
Thecla Schiphorst is an artist and Associate Professor and Associate Director of the School of Interactive Arts and Technology at Simon Fraser University. Her background in dance and computing form the basis for her work in embodied interaction, movement expression, and interactive art. She collaborated with Merce Cunningham from 1990 to 2005 supporting his creation of new dance with the computer. Thecla is the recipient of the 1998 PetroCanada Award in New Media, a biennial award presented to a Canadian Artist. Her art installations have been exhibited world-wide in venues including Ars Electronica, the Dutch Electronic Arts Festival (DEAF), Future Physical, Siggraph, the Wexner Centre for the Arts, the Canadian Cultural Centre in Paris, and the London ICA.
Philippe Pasquier is Associate Professor and Graduate Program Chair at Simon Fraser University’s School of Interactive Arts and Technology. He is both a scientist specializing in artificial intelligence and a multi-disciplinary artist. His scientific research focuses on the development of models and tools for endowing machines with autonomous, intelligent or creative behaviour. His contributions range from theoretical research in artificial intelligence and machine learning to applied artistic research and practice in computational creativity and generative art. His work has been shown internationally, published in over 100 peer-reviewed forums, and funded by more than 20 scientific or cultural institutions worldwide.
Matt Gingold has been developing and implementing technology in performance and installation for the last 15 years. His practice spans theatre, dance, museum and gallery contexts. He is particularly interested in the social and cultural meanings that technology create in and of themselves – and how these can be harnessed in the production of unique, live(d) experience. His work has been presented at Ars Electronica (Austria), Media Lab Prado (Slovenia), Teatro Major (Colombia), MOCA Taipei (Taiwan), Expo Bicentenario (Mexico), Seoul Festival (Korea), Melaka Festival (Malaysia). MONA/FOMA (TAS), Melbourne Museum (VIC), National Portrait Gallery of Australia (ACT).
Combat Music was originally conceived for a hardware hacked Atari2600. Unfortunately, the introduction of USB killed that system. Also, the Atari has been growing cranky with age and the cartridges don’t work as reliably as they used to. This version of Combat Music uses ports of classic games. Each game maps sound onto the joysticks differently, so each game has its own musical environment. We can play different games in succession, like movements, to create larger musical forms.
Elad Shniderman is a composer and sound artist active in the sphere of experimental and contemporary music. In recent years, the physical and sensational aspects of the human body have become the hallmark of his artistic enterprise. In a series of sonic and multidisciplinary works, he has explored the subject in an attempt to unveil the material and action essence that stands at the core of the aesthetic experience.
Elad is currently a PhD candidate in Music Composition and Theory at the State University of New York at Stony Brook. He has studied composition with Margaret Schedel, Daria Semegen, Morton Subotnick and Ruben Seroussi.
Elad’s works have been presented internationally at the following venues and festivals: EMS/EMF (Electronic Music Studies Network/ Electronic Music Foundation, NYC), Seamus (National Computer Music Conference, Miami) ICMC (International Computer Music Conference, New York City) Harvestworks Digital Media (New York City), Goethe Institute (Barcelona), Brooklyn Electro-Acoustic Festival, re-new Digital Art Festival, (Copenhagen), Merkin Hall (New York City), Goethe Institute (Lyon), Düsseldorf Kunstfilmtag Kunstverein Malkasten (Düsseldorf ), Moves Festival (Liverpool), The Bax (Brooklyn), Movement Research at DTW (Dance Theater Workshop, New York City), Sao Paulo International Short Film Festival, Cambridge Film Festival, Lithuania Film Festival, Vdance Festival (Tel-Aviv Cinematheque), Jerusalem Film Festival (Jerusalem Cinematheque), CologneOff Festival, Mix Film Festival (New York City), Alfred Gallery (Tel-Aviv) and Haifa Museum of Art.
Elad Shniderman | Output
Over the past few years illegal immigration from East Africa (mainly Sudan and Eritrea) to Israel has increased tremendously. Many of the migrants come from countries, which endure continual violent conflict, a fact that raises the question about the nature of this immigration.
This complicated situation created a serious debate in the parliament as well as in the streets of Israel regarding the way in which this population should be treated.
Some of these migrants are being held in an open detention facility, which allows them to go in and out at certain times of the day. On December 24th 2013 many of these detainees marched to Jerusalem to protest against the government policy concerning their matter.
The document used in this piece is an official appeal of the State of Israel against 153 of those protesters who were absent from the detention facility for more than 48 hours during their protest.
Instead of names, only 153 prison numbers appeared in the document.
I only added sound and video to resonate with those number codes.
Antonio Roberts is a digital artist based in Birmingham. He has recently completed his Masters level studies in Digital Arts in Performance at Birmingham City University. His artwork focuses on the errors and glitches generated by digital technology. An underlying theme of his work is open source software and collaborative practices.
His video work has been screened in Chicago, Illinois, at GLI.TC/H, Notacon in Cleaveland, Ohio, and Newcastle Borough Museum and Art Gallery, amongst other places. Alongside this he partakes in virtual exhibitions online and in Second Life.
Antonio’s recent activities include being a founding member of the fizzPOP hackerspace, regularly collaborating with other visual artists/VJs under the group name of FREECODE and helping to organise Birmingham’s first zine festival in 2010.
Title: What is your glitch? 1bitgifavibmpbmpcmykbmprgbjpgmpgpcxpixpngppmsgisvgtgawebp
A series of videos exploring the types of glitches and compression artefacts available from different image and video file formats.
Audio by defaultxr http://defaultxr.x10.mx/ and domesticflighthttp://soundcloud.com/domesticflight
Title: I Am Sitting in a Room
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.
In this piece I have used a script, created in collaboration with programmer G Bulmer, that explores a 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.
Title: Dark, Eerie and Manic
An audiovisual noise collaboration.
The process of Dark, Eerie and Manic includes the use of a variety of hardware video mixers and video synthesisers in conjunction with custom-built generative computer software. The aesthetics of the videos focus on the errors and mistakes created by digital technology. Instead of discarding the noisy artefacts created by error I attempt to utilise and control them to create visuals.
Andrew Bernstein is an American composer and multimedia artist. He is possessed by a minimalist drive to endlessly explore the subtleties of timbre, simple rhythmic variation, and the sense of timelessness in listening to long sustained tones. Andrew makes work to quiet the mind and open it up to higher states on consciousness.
Sonically his work is diverse, ranging from quiet solo alto saxophone improvisations and electronic drones to loud, rhythmically complex and hypnotically repetitive ensemble pieces. He often works with microtonal scales, dabbles in acoustic instrument construction, and programs custom synthesizers.
Bernstein is on the board of the High Zero Foundation, plays with minimalist rock band Horse Lords, and is an M.F.A. candidate in Goucher College’s Digital Arts program.