Tuesday, August 30, 2011

GLI.TC/H20111 needs you!



GLI.TC/H was a simple idea that was hatched upon the notion of folks gathering together and engaging/chatting/debating the issues/theories/concerns of failure, systems, art, && glitches.

The last year GLI.TC/H 2010 brought people together for five days of glitchy art, hacking/coding workshops, discussions, screenings, lectures, and realtime audio/video performances. All events were free & open to the public and ended up exposing an extremely diverse, amazingly deep, somewhat quirky community. See more;

GLI.TC/H is spreading from the web to Chicago: US; to Amsterdam: NL; and Birmingham: UK; GLI.TC/H will launch in Chicago on NOV: 4TH, 5TH, & 6TH. Amsterdam will commence on NOV: 11 & 12. Birmingham: UK; will follow on NOV: 19.

GLI.TC/H is both a physical and virtual event with always-on online games, galleries, easter-eggs, downloadable artware, scavenger hunts, APIs, and loads of other experimental components. These activities will continue through-out and beyond the physical events.






"The community is growing and this year we are hoping (and planning) to do it again! From the beginning, we consciously adopted a free & open ethic for GLI.TC/H. We believe that exorbitant entrance fees and exclusive passes create obstacles between "actor" and "audience.""



"We hope that branching and forking the gathering/festival/conference will mesh && mosh conversation(s) with local happenings, multiple perspectives, and allow for more individuals to participate."



"This year, we are opening frameworks and structures to involve the community at core levels including curation and organization. For example, Kim Asendorf (fa-g.org & gifmarket.net) is curating an online component and Antonio Roberts (AKA hellocatfood) initiated and is leading the Birminham: UK; component. Many more artists and curators are investing their talents."



You can make GLI.TC/H20111 happens by donating through Kickstarter and spreading the word by liking/sharing/linking/tweeting/posting everywhere! The biggest incentive of this campaign is actually making GLI.TC/H 20111 happen!



STB by Peter Jellitsch


Ink on tracing paper 33 x 28 cm

STB is an amazing ink drawing series created by Peter Jellitsch, Vienna. I really like their looks, remind me of some info-graphics.

Jellitsch tells us interesting information about this series;
STB means Streambody, this series is based on a motion algorithm that is used in architectural practice to simulate wind directions and the force of air that arrives at highrise buildings. I have experimented with this program, and the outcome was solid bubbles which I have then redrawn with the directions that they had. The degree denotation that my title has (for example: STB/S02/90°) is explaining the turn of the wind-force hitting the object." See more;

Peter Jellitsch is a a 29 year old phd student from Vienna where he did a master in architecture at the Academy of Fine Arts in Vienna. Jellitsch is practicing somewhere between art, architecture and science.

"Generally I am trying to translate digital generated stuff into analog drawings. On one hand to see which differences appear between the digital outcome and the analog one, and on the other hand, i am interested in the repetitive movements that appear when i am reproducing from digital data. My work is always repititve in terms of sequences of one project. always a series of drawings, because most of my experiments are based on digital simulations."


Ink on tracing paper approx. 33 x 28 cm

Ink on Paper 40,5 x 26 cm

Ink on Paper 40,5 x 26 cm

STB/S02/90° Ink on paper 75 x 75 cm

STB/S01/130° Ink on paper 75 x 75 cm

STB/S01/100° ink on paper 75 x 75 cm

Radioactive Control by Luzinterruptus



“Radioactive Control” is the latest intervention by spanish light performance collective Luzinterruptus. It was created for the Dockville Festival in Hamburg which tried to demonstrate, in a humorous tone, the paranoia that we are suffering from since the escape of radioactive material in Japan, has brought into question the safety systems at the nuclear power plants.
"With our mysterious army of 100 illuminated radioactive figures, which advanced threateningly on the natural environment of the festival, we wanted to invite reflection regarding the use and abuse of nuclear energy, cheap in economic terms, but which can cause grave secondary effects for the environment and health, forever irreversible." - Luzinterruptus. See more;








Monday, August 29, 2011

Andrew Norman Wilson



 Andrew Norman Wilson_
"By combining oppressive economic, social, and political forms and patterns, I create new moiré patterns for desire and knowledge to flow through and explode, opening them to a conceivably infinite array of forces. This leads to deeply heterogeneous forms and flows of cultural production, wherein culture, and life in general, can be understood as a living, involuted and expansive process rather than an entry on a spreadsheet."

Why is the No Video Signal Blue? Or, Color is No Longer Separable From Form, and the Collective Joins the Brightness Confound is ~A Guided Meditation~ by Andrew Norman Wilson. See more;



"The screen is blue unlike the blue on that day last summer when you looked up into the sky and really felt the blueness. The screen is blue unlike the pool you saw from afar on a day when the sky was clear and blue. This blue is too dark to be day, too bright to be night, entirely this blue and not that blue. Neither the light blue of comfort, nor the dark blue of fear.

This is not the blue screen of death, the blue screen of doom, or a stop error. This blue is different than a blue screen of death on a mac computer, which is different than a blue screen of death on a windows computer. These three blue screens are all meant to signify different issues.

In the English language, blue often represents the human emotion of sadness. In German, to be blue is to be drunk. Yet a blue sky staring at you tends to symbolize happiness or optimism. A blue film is a pornographic film.

On a mood ring, blue is generally regarded as indicating a relaxed mood, someone who is at ease. As blue is also the color associated with the throat chakra, this shade may appear at a time when you are vocally struggling or vocally asserting yourself.

Does this blue screen make you see bluish skin? Is that light colored clothing now blue? And the walls? Is this environment becoming no video signal blue? If you were to smile, would your teeth turn blue? If you are awake, are the whites of your eyes now blue?"

... the complete text, is at poool.info


Letter to Sony

Hello,

I am an artist working with video and digital media. I am wondering why monitors + projectors show the color blue when there is no signal. When was this decided? Who decided? How did the decision become implemented? I understand that basic customer service will probably not be able to answer this question, but if I could be pointed in the right direction I would appreciate it very much. In short, why is the no video signal screen blue?

Sincerely,

Andrew Norman Wilson

Response from Sony

Andrew Wilson,

Thank you for contacting Sony Support.

In order to determine the exact resolution for your support issue, we require the model number of your Sony unit. Please get back to us with the complete/correct model number of your Sony unit and I will be able to research and provide you the information.

Thank you for understanding.

The Sony Email Response Team

C6EM

Brian

My Response to Sony

Hello,

The resolution of my Sony unit is irrelevant for this question. I understand if it’s not within your job description to know the answer, but if you could speak to your manager and have them direct the question to the appropriate person at Sony (perhaps a senior engineer), it would be much appreciated.

To summarize, I’m wondering why the the decision was made to show the color blue when there is no signal. Why is the no video signal screen colored blue?

Thanks,

Andrew

Response from Sony

Andrew,

I’m sorry for the confusion in the previous response. The product specification you are seeking has not currently been published by Sony. Unfortunately, this information is beyond the scope of what we are able to provide through our online support service.

If you sincerely require this information you can make a formal request for this data by calling our customer service division. If appropriate they will take down your contact information and pass your request through to the sustaining engineering team responsible for this product. You may reach them at (800) 222-7669.

No response from Sony’s sustaining engineering team

Response from Panasonic

Thank you for your inquiry.

At this time, we cannot advise you of the reason the decision was made to make the monitors a solid blue screen when there is no signal. This decision was not determined by Panasonic.

We hope this information is helpful to you. Thank you for choosing Panasonic.

My Response to Panasonic

Hello,

Do you have any way of finding out who made this decision?

Thanks

Andrew

Response from Panasonic

Thank you for your response.

We have no way of finding out this information. you may have to conduct an online research on this particular inquiry.

Thank you for contacting Panasonic.

Response from VIZIO

Dear Andrew,

Thank you for your email to Vizio. Here at Vizio we pride ourselves in our service and best in class support and honestly the blue signal screen just seems to be the industry standard. We are not certain who implemented it or why they chose blue. I do apologize that I couldn’t be of more assistance to you with this issue.

Sincerely,

Leah Anderson

vizio

“America’s #1 LCD HDTV Company”

Even if everything we see is blue, we are also able to imagine red. We are capable of forming feelings, and yearning after potentialities, that differ from those provided by actual entities in the actual world. The data of novelty is not present in these actualities, and so it must arise out of our subjective aim. See red, see yellow, see green, see orange, see purple, see pink, see black.

You can find all credits about the works cited on the video, here at poool.info


I LIKE BIRDS


Happy Peppy Poster

I like this cool and stylized typography made from ribbons, previously scanned. Created by I LIKE BIRDS, a graphic design studio located in the Speicherstadt in the port of Hamburg. I also like their crafted and experimental way. They experiment with various mediums to develop customized and interesting solutions. I LIKE BIRDS is focused on transforming numerous types of information into a visual language which conveys the content in a more fluid and effective manner. "We put a lot of time and effort into creating a wide range of print products, including posters, books, illustrations, corporate identities and other visual works for cultural and public purposes." See more;













Thursday, August 25, 2011

EXTRAFILE.ORG


Extrafile.org is a new project created by Kim Asendorf. It's conceptional software art but with a practical usage. Its goal is to wiggle the static system of image file formats.

Kim tells us all information about the project;
"All started with the idea of inventing a new image file format, a format as a piece of art. Far away from the mainstream and commercial standards. Just to express the feeling of using and saving data in a new, fictitious or artificial way. Getting the filename extension into the scope of the artwork itself. In simple terms: Creating an exclusivity." See more;

"The freedom not to have to pay attention to the file size or the loading and saving times provides the option to implement artistically byte orders, odd quality behaviors and visual designed formats. ExtraFile is breaking the rules of commercial formats like JPG, PNG or TIFF. It is a pioneer art project in storing image data. The process and the resulting bytes, regardless of content, become the artwork itself."

Extrafile is a native Mac OS X image converter application with the ability to open, preview and save the most common image file formats. It offers the possibility to use the seven build-in formats, 4Bit Components, Block Ascii, Block Indexed, Channel Compressed Image, Monochrome Collector File, Uniform Spectrum and the ExtraFile Format, to store image data.

ExtraFile is an open source project, the source code is available on GitHub under the Artistic License 2.0.

At Extrafile.org have been featured a great list of artists who have experimented with Asendorf's new software. I published one picture by each artist in the same order to show the infinite possibilities you can create using Extrafile. There you will find all glitched experiments and results by the following artists: 


































Particle by Bethan Laura Wood


Animation, Bethan Wood and Ellis Scott

"Particle is a range of furniture designed during Bethan Wood's residency at London's Design Museum. Bethan took her inspiration from the Design Museum's location, at Butlers Wharf, overlooking the River Thames. Investigating the historical usage of the building and the site, she discovered that it had been a banana warehouse, when the Port of London was the main site for importing and exporting all manner of goods to the UK from around the world. In response, Bethan has created a furniture system based on crates and packaging materials. This range of interlocking and stacking units has been designed to allow for many different uses depending on their combinations." See more;

"Particle is an extension of Bethan's Super Fake series. With this new series she has continued to use laminates as the main surface fabric of the design, this time sourcing a wide range of faux wood-laminate variations, kindly donated by Abet Laminati.
Bethan has re-appropriating the wood laminates to create a new pattern inspired by particleboard (OSB Board), a material that is often considered low quality and mundane, transforming it into a surface pattern that is "original" and eye-catching.
The pattern has been developed so as to facilitate the use of various sized off-cuts and samples. The laminate is interwoven, much like a patchwork, a jigsaw, or more traditional marquetry surfaces.

Instead of containing 'imported goods', these laminated 'crates' have been designed to hold glass or foam components, which dictate each units’ function. The foam inserts have been upholstered with a bespoke knit fabric, the pattern being a further re-interpretation of the foam itself, made in collaboration with Giannina Capitani."








via | VVORK