A few weeks ago we passed along an announcement regarding the FABRICATE conference that will be taking place in London next April. We just received word that (for various circumstances) the submission deadline has been extended through September 20th, so if you had been considering making a submission there is still lots of time. Check out the (updated) original announcement for information on the call for work.
The consistently excellent Motherboard.tv recently published the above feature on the most recent FutureEverything conference. The short video is a good overview of the portion of the 2010 festival that considered 'smart' cities and open data – Drew Hemment and Adam Greenfield offer some thoughtful insights and there are a number of interesting projects mentioned that are worth investigating.
We are excited to announce VT Audio Editions, a new venture that we've been working on for the last few months. Curated by VT audio art and music don Neil Wiernik, the project will program an ongoing series of releases that sit outside the standard EP and single format. Neil's concise mission statement for the project:
Focusing on the aural art genres that we have featured from the very start of our publication, VT Audio Editions invites artists to create a longer piece of audio/music content between 20 and 60 minutes in length. These submissions could be a composed work, a live studio session or a concert recording. Each Audio Edition will include a statement and biographic information on the participating artist.
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Our first release (embedded above) is by the Michigan-based composer Matt Borghi and it is a half-hour long, etherial, Lynchian soundscape with some fantastic sax work by Michael Teager. If this is an indication of the quality of the work that Neil will be programming, we're in for a treat.
Broadcasting for Reels: Success Through Failure
Sometimes you can't do something right without doing it wrong. A mistake can be an unplanned act of genius. Getting hopelessly lost can set you on the right path.
Broadcasting For Reels is seeking works of audio art that address the idea of "Success Through Failure." Chosen entries will be aired on CKDU-FM in Halifax and distributed to community radio stations throughout Canada.
Broadcasting For Reels is an audio art project presented annually by the Centre for Art Tapes since 1993. The project accepts new audio work no more then one year old up to a maximum of 10 minutes in length. Works should be submitted as an audio CD or as a data file (wav, aiff or mp3) via email, web transfer or disc. Only those selected will be notified. If you would like your submission returned to you please include a self addressed, stamped envelope.
Deadline for submissions: October 1, 2010. Artist fees will be paid.
Send submission with current CV and artist statement to:
Centre for Art Tapes
For more information contact (902) 420-4002 or visit centreforarttapes.ca.
glitchNES is a custom-built Nintendo ROM that uses software tricks to create visual effects reminiscent of hardware glitches. Everyone who ever owned or played an original NES system should recognize these patterns, usually indicating that you need to hit the reset button and/or blow in the cartridge. Instead of remaining static, glitchNES encourages live manipulation of the imagery using a keyboard or external controller. Modifiable parameters include direction of movement, color, pattern, speed, and more.
Here are a few of my past experiments with v0.1.
Version 0.1 was a good start, but the concept is much more fully realized in v0.2. In particular, the live performance capability has been greatly increased. This was always the most exciting aspect of glitchNES to me, ever since I caught a video of Don Miller generating live visuals for a really crunchy electronica show, and I'm glad to see that he has continued developing with this in mind.
Version 0.2 doubles the number of controls (it now requires 2 controllers if you aren't using the qwerty keyboard), and adds more graphics banks which can be swapped on the fly. There is also a tap tempo function that allows for some rhythmic fluctuation of the imagery. As with the v0.1, the graphics banks may be edited using a tile editor to customize the resulting visuals. While I recommend this if you are planning to use glitchNES for a live show, I had a lot of fun just playing with the default banks that come pre-loaded.
Hardcore NES hackers can even buy some specialized hardware and create their own physical NES cartridge for use in an original system (works for NTSC anyhow). Everything you need for this process can be found at RetroZone.
glitchNES is available for free download here. After downloading, you need to run the compile.bat file to generate the ROM (glitchnes.nes). In order to use the ROM you will need to load it into an NES emulator. I recommend Nestopia or RockNES.
Editor's note: Don Miller will be leading a short workshop on NES hacking as part of the GLI.TC/H festival in Chicago. This will be held at the Nightingale Theater on Saturday, October 2nd @ 5pm. Ben will be performing a live set alongside Evan Kühl at the same venue a few hours later. A full schedule and further details can be found at http://gli.tc/h
[Marius Watz / mid-progress plotter sketch]
Visual complexity isn't an inherent characteristic of generative techniques - it's easy, if not very interesting, to make a generative process that turns out visually simple results. So to some extent it's an aesthetic choice, or a tendency that pursues a certain aesthetic or sensual reward. Susanne Jaschko has called this its "retinal" tendency. Computational generative techniques act as an enabler or amplifier for that tendency - they automate complexity to a certain extent, or reduce its cost. If generative art is a cultural organism, then the "retinal" charge of visual complexity is a kind of lure that attracts both artists and audiences to computational techniques. – Mitchell Whitelaw
The above quote is culled from of a fantastic conversation between Leonardo Solaas, Marius Watz, Mitchell Whitelaw and Jeremy Levine on the topic of generative art and process-based work in Digimag 57. Read and enjoy the entire roundtable/article here