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  1. 1. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: //Sept.29 - Oct.3 2010 ---- Chicago, IL HTTP://GLI.TC/H HTTP://GLI.TC/H/SCHEDULE :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: GLI.TC/H is an international gathering of noise & new media practitioners in Chicago from September 29 thru October 03, 2010! GLI.TC/H features: realtime audio & video performances with artists who misuse and abuse hardware and software; run-time video screenings of corrupt data, decayed media, and destroyed files; workshops and skill-share-sessions highlighting the wrong way to use and build tools; a gallery show examining glitches as processes, systems, and objects; all in the context of ongoing dialogues that have been fostered by experimentation, research, and play. GLI.TC/H is a physical and virtual assembly which stands testament to the energy surrounding these conversations. Projects take the form of: artware, videos, games, films, tapes, code, interventions, prints, plugins, screen-captures, systems, websites, installations, texts, tools, lectures, essays, code, articles, & hypermedia. ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  2. 2. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: Glitch vs glitch art (Rosa Menkman, 2010) The glitch is a wonderful experience of an interruption that shifts an object away from its ordinary form and discourse. For a moment I am shocked, lost and in awe, asking myself what this other utterance is, how was it created. Is it perhaps …a glitch? But once I named it, the momentum -the glitch- is no more… But somewhere within the destructed ruins of meaning hope exists; a triumphal sensation that there is something more than just devastation. The negative feelings make place for an intimate, personal experience of a machine (or program), a system showing its formations, inner workings and flaws. As a holistic celebration the glitch can reveal a new opportunity, a spark of creative energy that indicates that something new is about to be created. The glitch has no solid form or state through time; it is often perceived as an unexpected and abnormal mode of operandi, a break from (one of) the many flows (of expectations) within a technological system. But as the understanding of a glitch changes when it is being named, so does the equilibrium of the (former) glitch itself: the original experience of a rupture moved passed its momentum and vanished into a realm of new conditions. The glitch has become something new and has become an ephemeral, personal experience. Glitch art As an artist, I find catharsis in disintegration, ruptures and cracks. I manipulate, bend and break any medium towards the point where it becomes something new. This is what I call glitch art. Even so, to me, the word ‘glitch’ in ‘glitch art’ means something slightly different than the term ‘glitch’. The genre of glitch art moves like the weather; sometimes it evolves very slowly while at other times it can strike like lightning. The art works within this realm can be disturbing, provoking and horrifying. Beautifully dangerous, they can at once take all the tensions of other possible compositions away. These works stretch boundaries and generate novel modes; they break open previously sealed politics and force a catharsis of conventions, norms and believes. Glitch art is often about relaying the membrane of the normal, to create a new protocol after shattering an earlier one. The perfect glitch shows how destruction can change into the creation of something original. Once the glitch is understood as an alternative way of representation or a new language, its tipping point has passed and the essence of its glitch-being is vanished. The glitch is no longer an art of rejection, but a shape or appearance that is recognized as a novel form (of art). Artists that work with glitch processes are therefore often hunting for the fragile equilibrium; they search for ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  3. 3. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: the point when a new form is born from the blazed ashes of its precursor. Even so, glitch art is not always (or by everyone) experienced as an art of the momentum; many works have already passed their tipping point. This is because glitch art exists within different systems and can be perceived differently by the different actors within these systems (for instance the system of production and the system of reception). Not only the artist who creates the work of glitch art is responsible for the glitch. The ‘foreign’ input (wrongly encoded syntaxes that lead to forbidden leakages and data promiscuity), the hardware and the software (the ‘channel’ that shows functional? collisions) and the audience (who is in charge of the reception, the decoding) can also be responsible. All these actors are positioned within different (but sometimes overlapping) flows in which the final product can be described or recognized as glitch art. This is why an intended error can still be called glitch art and why glitch art is not always just a personal experience of shock, but also (as a genre) a metaphor for a way of expression, that depends on multiple actors. Over time some of the glitches I made developed into personal archetypes; I feel that they have become ideal examples or models of my work. Moreover, some of the techniques I (and others) used became easily reproducible for other people, either because I explained my working process, or sometimes because of the development of a software or plugin that automatically simulated or recreated a glitching method (that then became something close to an ‘effect’). I noticed that these kinds of normalizations or standardizations happen very often. Therefore, to me, the popularization and cultivation of the avant- garde of mishaps has become predestined and unavoidable. The procedural essence of glitch art is opposed to conservation; the shocking experience, perception and understanding of what a glitch is at one point in time, cannot be preserved to a future time. The beautiful creation of a glitch is uncanny and sublime; the artist tries to catch something that is the result of an uncertain balance, a shifting, un-catchable, unrealized utopia connected to randomness and idyllic disintegrations. The essence of glitch art is therefore best understood as a history of movement and as an attitude of destructive generativity; it is the procedural art of non con-formative, ambiguous reformations. Nevertheless, some artists do not focus on the procedural entity of the glitch. They skip the process of creation-by-destruction and focus directly on the creation of a formally new design, either by creating a final product or by developing a new way to recreate the latest archetype. This can for instance result into a plug-in, a filter or a whole new ‘glitching software’. ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  4. 4. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: This form of ‘conservative glitch art’ focuses more on design and end products then on the procedural breaking of flows and politics. There is an obvious critique: to design a glitch means to domesticate it. When the glitch becomes domesticated, controlled by a tool, or technology (a human craft) it has lost its enchantment and has become predictable. It is no longer a break from a flow within a technology, or a method to open up the political discourse, but instead a cultivation. For many actors it is no longer a glitch, but a filter that consists of a preset and/or a default: what was once understood as a glitch has now become a new commodity. But for some, mostly the audience on the receptive end, these designed errors are still experienced as the breaks of a flow and can therefore righteously be called glitches. They don’t know that these works are constructed via the use of a filter. Works from the genre ‘glitch art’ thus consist as an assemblage of perceptions and the understanding by multiple actors. Therefore, the products of these new filters that come to existence after (or without) the momentum of a glitch cannot be excluded from the realm of glitch art. Even so, the utopian fantasy of ‘technological democracy’ or ‘freedom’ that glitch art is often connected to, has little to do with the colonialism of these glitch art designs and glitch filters. If there is such a thing as technological freedom, this can only be found within the procedural momentum of glitch art, -when a glitch is just about to relay a protocol. In GLI.TC/H we would like to question some ideas and standard notions around genre(/tri)fication of glitch. What is the procedural entity of glitch art and here do we find its aesthetical side. Can they equally co-exist in the same work? Is one more important over the other? How do we divide between the two and do we need to? We invite you to think critically with and let these questions float up to the surface. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  5. 5. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: <Wednesday> [GLI.TC/H GALLERY OPENING] @ROXABOXEN EXHIBITIONS (2130 W. 21st St.); 6:30PM - 10:00PM (Sept.29); ------------------------//------------------------ http://www.roxaboxenminicastle.com/ Melissa Barron [http://melissabarron.net/] Melissa is living in Chicago and attending school of the Art Institute of Chicago. She is currently working with the apple ][ and the 8 bit aesthetic. About her piece in GLI.TC/H: This piece was an experiment in the types of glitches i could create while using the computerized jacquard loom. I used a variety of techniques to create these glitches, such as data bending of the actual file, using weave structures that give the appearance of a glitch, and the invert and reverse functions on the loom. The text and imagery were initially created on the apple ][. Theodore Darst [http://www.theodoredarst.net] theodore darst was born in 1986 in brooklyn, ny. he is a 2011 BFA candidate at the school of the art Institute of chicago with a concentration in new media and video art. he was a founding member of the (c)tas gallery and curated the 2010 version festival "tlvsn" screening series. His work “Corrupted Miley Cyrus” is a collection of digital disfigured portraits. Scott Fitzgerald [http://ennuigo.com] Scott Fitzgerald is a media artist using digital tools to mediate between people and the space they inhabit. He is currently working on Trigger, a permanent installation at the University of Oslo, with Vibeke Jensen. He received his Masters in Interactive Telecommunications from NYU’s Tisch School of the Arts (2004), where he occasionally teaches Physical Computing and Interactive Video Art. Since 2007, Scott has been a member of the French sound lab Locus ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  6. 6. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: Sonus. His work has been exhibited in the USA, Europe and Asia, and featured in print, most recently in the book “Glitch” (2009). In GLI.TC/H Scott will show a couple of prints, either caught accidentally or created specifically with the intention of mangling an image. Morgan Higby Flowers [http://morganhigbyflowers.blogspot.com/] [http://www.youtube.com/watch?v=Sr44ByT2H1g] panel.raw is a digital diptych paring process and result of drawing within the data of a Photoshop RAW representation of a video file. Gijs Gieskes [http://gieskes.nl/] Browser Jockey. http://gieskes.nl/browserjockey/, 2009. Gijs takes machines apart and changes its circuitry; he is a circuitbender. He deconstructs the internal workings of the machine and redefines the medium as a material. In Browser Jockey Gijs uses a web browser to make visuals to live music. Urls, gifs and other web native elements are crawled from the an Asian webspace and used to step by step draw East Asian emoticons like: (Z.Z) - sleepy person (^_^)/ - cheers, "Hurrah!" The results are often surprising, sometimes unrecognizable and once in a while serendipious. Andreas Maria Jacobs [http://nictoglobe.com/new/room/New%20Room/2006/] Agam (A.) Andreas [Andreas Maria Jacobs - NL 1956] is a transmedial artist, writer and editor, studied physics and musicology at the University of Amsterdam NL, electronic and computer music at the State University Utrecht NL and holds a BSc. in software engineering (University of Applied Sciences - The Hague NL). About his work in GLI.TC/H Andreas writes: "Senses as Subtle as the Eye are constantly in a Flux with Reality and unintentionally directing us towards an internal Agreement with our external Environment" JODI [http://wwwwwwwww.jodi.org/] Untitled Game [http://www.untitled-game.org/] 1996. Jodi’s work is often confrontational and hard to grasp. This is not just because the collective never adds an explanation to their work, but mainly because Jodi often overturns genres, expectations of the user and the behavior of the interface. Untitled Game is not an exception to this rule. In this set of 14 modifications of the First Person Shooter (FPS) Quake 1, Jodi searched and exploited bugs within the source code of the videogame. The collective changed the graphics, sounds and coding and in doing so, rendered the game ‘unplayable’. In E1M1AP (one of the mods) Jodi used the gravity algorithm to create unsettling vortex effects, while in Ctrl-Space the collective exploited anti-aliasing and 2x1 blocked sprites to create a cube filled with beautifully evolving moire patterns. In these Quake mods Jodi shows that a first person shooter game can be used in many different ways. Karl Klomp [http://www.karlklomp.nl/] ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  7. 7. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: Karls research focuses on live audiovisual expressions and interfacing with a fascination for glitch-art, hyper-kinetic audio visuals and glitch grabbing. His main fields of work are video circuit bending, frame grabbing, hardware interfacing and max programming. He is also doing commissioned video hardware tools for other artists. Karl plays live av performances together with Tom Verbruggen (Toktek) (toktek vs mnk). At GLI.TC/H Karl presents the Panasonic AV-3, which is one of his favorite videomixers to bend because they are really good for audio visual glitching. Tatjana Marusic [http://tatjanamarusic.com/] In “The memory of a landscape”, landscape and rider find themselves endless roaming through a continuous process of disappearance and becoming. Moshed and pixelated memories of an open horizon float atop often forgotten video compression algorithms. Rosa Menkman [http://rosa-menkman.blogspot.com/] Noise Art > Filter art > when Cool becomes Hot >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Glitch has become hot. A brightly colored bubblegum wrapper that doesn't ask for much involvement, or offers any stimulus. Inside I find gum that I keep chewing - hoping for some new explosion of good taste - but the more I chew it, the less tasty and more rubbery it gets. Glitch design fulfills an average, imperfect stereotype, a filter or commodity that echoes a stabilized "medium is the message" standard. Naturally, the "No Content - Just Imperfection" slogan of this kind of hot glitch design is complimented by cool glitches. In "The Laws of Cool", Alan Liu asks himself What is "Cool"? He describes that cool is the ellipsis of knowing whats cool and withholding that idea. Those who insist on asking, are definitely uncool. Cool glitches do not (only) focus on a static end product, but (also) on a process, a personal exploration or a narrative element (that often reflects critically on a medium). This is why cool is in a constant state of flux, as is the genre of "cool glitch art", which finally exists as an unstable assemblage that relies on the one hand the construction, operation and content of the apparatus (the medium) and on the other hand the work, the writer/artist, and the interpretation by the reader and/or user (the meaning). There is no one definition of cool glitch art. In an effort to make what was once cool now hot, or visa versa, I made this Vernacular of File Formats, in which I studied ways to exploit and deconstructed the organizations of file formats into new, brutalist designs. …I am waiting for the first "Glitchs not dead" hoodie in H&M. And because "fans are as bad as the ignorant", for the sake of being bad, I will definitely wear the hoodie. Kyle McDonald [http://kylemcdonald.net/] pppd [http://www.openprocessing.org/visuals/?visualID=1138] 2009 pppd is a highly formalized audiovisual composition built around the esoteric programming language p'' ("p prime prime"). During each brief scene, a random sequence of p'' code is generated and run, while the memory it uses is visualized and sonified. pppd is an artistic re- imagining of the otherwise academic field of computability theory. It functions simultaneously as an investigation of complex behavior emerging from formally simple systems, and as a playful exploration of computational dreams. ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  8. 8. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: p'' is a subset of the programming language better known as Brainfuck. Alex Myers [alexmyers.info] DNPWWO "In DNPWWO (Does Not Play Well With Others) I used a simple video game hardware hack to subtly change the dynamics of DOOM2's death-match mode. 3 players experience the game space as an abstracted kaleidoscope while the 4th sees what was originally intended. The hack serves to change the relationships between the players. Restructuring the original ritual-combat both as the typical aggressive power-play and as a new hypnotic experience of the beauty within the machine. For me, it's about play and the unfettered joy and sublime agony of experience. It is about how we ritualize these experiences in an effort to share with each other. Whether we share pain or pleasure is up to us." Mikrosopht [http://mikrosopht.godxiliary.com/] Mikrosopht (born Benjamin Raymond Kelley 1981 in Corvallis, OR) is an American electronic musician residing in Medford, MA. He is also the creator and writer of the e-zine Enooze and the founder of the net label Godxiliary. Mikrosopht has been writing and performing since 1999. His discography features dozens of releases, with styles ranging from cut & paste, glitch, ambient, and Drum and Bass. Mikrosopht tends to rely heavily on sampling and audio collaging in his work. Many of his songs also feature field recordings. GLITCH ENDLESS 2009 "most of the time i just stumble upon glitches. and sometimes i can figure out how to exploit them, and dig as deep as i can and capture whatever however i can. i do not edit files to produce glitches." David Musgrave [http://vimeo.com/user2418626] I Love You, But Enough Is Enough. Hacked/Modified Arcade Game, 2010 David modified the trackball of a bowling arcade so that even the best the player can only throw a gutter ball. The game has been modified in a way that it still gives the illusion that there is a probability of winning. I Love You, But Enough Is Enough is an allegorical, critical exploration of the heterogeneous expectations around videogames cultivated by capitalism. David figured out how the trackball worked and then made new pieces for the controller using Rhino 3D and a 3D printer. He also made a custom sign and arcade cabinet. LoVid [http://www.lovid.org/] 486 Shorts stems from a personal interaction with an ordinarily closed off part of a common machine By getting inside the black box (the casing of an archaic 486 computer), LoVid reached the physical location where signals are passed. Connections were made on the circuit board of the video card, using wire to produce short videos. Recordings made from these shorts were then edited into 486 short clips, each corresponding to one of the physical shorts. ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  9. 9. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: Don Miller [http://www.no-carrier.com/] Don Miller performs live visuals in real time under the alias NO CARRIER. He works with nearly obsolete repurposed electronics to create high energy low resolution abstract video. Part of the 8bitpeoples artist collective, he performs, exhibits, and lectures worldwide. Miller is based in Philadelphia, where he organizes and curates 8static, a monthly showcase of low-bit music and visuals. glitchNES (2009-2010) is an open source software project for the Nintendo Entertainment System. This software causes graphical glitches similar to hardware circuit-bending. The current version is 0.2. Ant Scott [http://www.beflix.com/] TITLE: Glitch (#08,#09,#13) DATE: 2001-2005, recoloured 2007 These digital prints represent the best of BEFLIX's "pure glitch" phase. The images, which at first might appear bewildering, were created from computer crashes, software errors, hacked games, and megabytes of raw data turned into coloured pixels. Eric Souther [unseensignals.com] My work is part of a continuing investigation of order, organization, and complexity within modes of information flow in which I control and reinterpret code in order to create electronic forms. I use an algorithmic visualization program called Max/MSP and Jitter to program and manipulate video live to create interactive environments to allow for my audiences to have immersive experiences. I obtained my B.F.A from the Kansas City Art Institute in Kansas City and am currently obtaining my M.F.A at Alfred University in Alfred, NY. In GLI.TC/H Eric Souther is showing a new way for Realtime Datamoshing using MAX MSP & VLC. Daniel Temkin [http://danieltemkin.com/] Most of the software I write to glitch images begins by automating work I normally do manually. After this the complexity expands as I discover new effects. Some of my work builds on bugs I’ve discovered accidentally when using various image editing softwares. Much of it comes from testing what would happen if I tried to process data of type A through system B and see how it is transformed. Other glitch artists’ techniques have also been useful as a place to start exploring. Stallio in particular has published a lot of useful info on his blog. His tutorial on the use of sound editing programs on image files was of huge benefit to me. My Sector series was heavily inspired by Bauhaus-era work and Pop Art, both of which I see as natural companions for glitch art. Repetition of images is of course common in Warhol’s work, and also occurs often in databent images. Iconic symbols work well with databending, since the images are still highly recognizable when bent. In this project, I used databending partly in response to Warhol’s ideas of automation in art; it’s what happens when the machine (From an intervie by Bit_Synthesis) Bob Weisz, Paul Korz, & Tom Butterworth [http://heywhatsupitsbob.com/] & [http://paulkorzan.com/] ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  10. 10. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: The director of the Chairlift “Evident Utensil” musicvideo that glorified and popularized datamoshing + the one responsible for the discourse altering youtube datamosh tutorials teams up with Quartz Composer datamosh guru Tom Butterworth. The result is a very interesting interactive, sound responsive installation that challenges the idea of compression in real time. UCNV [http://ucnv.github.com/aviglitch/] GLITCHS NOT DEAD t-shirt, 2010 After reading Rosa Menkman’s Vernacular of FIle Formats, UCNV answered to her glitch hoodie request: “…I am waiting for the first "Glitchs not dead" hoodie in H&M. And because "fans are as bad as the ignorant", for the sake of being bad, I will definitely wear the hoodie.” The result is hanging in the gallery is also available online at http://teeparty.jp/invalid_pixels/ Goto80 [www.goto80.com] HT Gold (2008) is an interactive Commodore 64 program for 2 persons, made by Glenn Again and Goto80. It is a reappropriation of the hockey game Hat Trick (1987). The machine code of the game has been analysed and tampered with, randomly but spaciously introducing events that alter the steering, graphics, physics, sound and destroys the goal counter. It is no longer a competitive game, but a less defined kind of play in an environment that gradually decays to show some sort of ‘message of the medium’. The decay is conditioned by pre-determined code and chance, aswell as user interaction. HT Gold is not about arbitrary glitch-debunking or retro- kitsch, it is a playable noise remix that celebrates the inherent aesthetics of the machine that are usually suppressed by the engineer perfectionism of digital culture. </Wednesday> ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  11. 11. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: <Thursday> [ROSA MENKMAN :: CONVERSATIONS AT THE EDGE] @GENE SISKEL FILM CENTER (164 N. State St.); 6:00PM - 8:30PM (Sept.30); ------------------------//------------------------ http://www.siskelfilmcenter.org/ http://conversationsattheedge.org/ Every technology possesses its own inherent accidents. Rosa Menkman is a Dutch artist and theorist whose focus is on visual artifacts created by accidents in digital media specifically. She describes these as “the uncanny, brutal structures that come to the surface during a break of the flow within a technology; they are the primal data-screams of the machine.” Working at the experimental junction of glitch, noise, and new media art, Menkman creates glitch work and writes texts about codecs, interpolation, and compression going awry. This evening, Menkman will introduce a selection of videos followed by a real- time performance. Rest assured, the equipment is working, though it may not look like it is. </Thursday> ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  12. 12. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: <Friday> [EVAN MEANEY MODERATES :: THE EYE & EAR CLINIC] @SAIC FLAXMAN THEATER (112 S. Michigan Ave. #1307); 4:00PM - 6:30PM (OCT.1); ------------------------//------------------------ http://eyeandearclinic.net/ [streamed performance] Cheap Machines [http://www.cmx.org.uk/] [micro-screening] Monster Movie 5m //2005 :Takeshi Murata [http://www.takeshimurata.com/] Codec 6.5m //2009 :Paul B. Davis [http://www.post-data.org/~paul/] Evident Utensil (Chairlift) :Ray Tintori & Bob Weisz [http://heywhatsupitsbob.com/] gree.qt_slippage .1m //1999 :Jon Cates [http://systemsapproach.net/] Demolish the eerie ▼oid .1m //2010 :Rosa Menkman [http://rosa-menkman.blogspot.com/] ROMO 2007 2.1m :Jon Satrom [http://jonsatrom.com/] ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  13. 13. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: [panel discussion] Evan Meaney [http://evanmeaney.com] Iman Moradi [http://organised.info/] Jon Cates [http://systemsapproach.net/] Jon Satrom [http://jonsatrom.com/] Nick Briz [http://nickbriz.com] Rosa Menkman [http://rosa-menkman.blogspot.com/] :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: [GLI.TC/H RUN.TIME & REAL.TIME PROGRAM I] @ TRANSISTOR (5045 N. Clark St.); 8PM - 9PM(program) 9PM - 11:30PM(performances)(OCT.1); ------------------------//------------------------ http://transistorchicago.com/ [program] Ok, I’m Going Outside 6.5m //2010 :Theodore Darst [http://www.theodoredarst.net] Fralix 2m //2010 :Ben Baker Smith [http://benbakersmith.com/] Tight Quarters 10m //2009 :Cole Pierce [http://colepierce.com/] Mirage 7m //2009 :Omar Mashal [http://thedawns.us/omar_mashal/] Apeiron | Peras //2010 :Phillip Stearns [http://www.art-rash.com/pixelform/] ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  14. 14. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: Prepare to Qualify 3m //2010 :Clint Ens [http://vimeo.com/clintenns] Timonds are Forever 12m // :Morgan Higby Flowers [http://morganhigbyflowers.blogspot.com/] I am Sitting in a Room .5m //2010 :Antonio Roberts [http://www.hellocatfood.com/] We Things at Play 3m // :Evan Meaney [http://www.evanmeaney.com/] Broken Windows 5.5m //2010 :Richard O'Sullivan [http://www.richardosullivan.net/] Principle 9 3.25m //2005 :BotBorg [http://www.botborg.com/] [performances] Aaron Zarzutzki (Chicago, IL) [http://www.myspace.com/aaronzarzutzki] Morgan Higby Flowers (Alfred, NY) [http://morganhigbyflowers.blogspot.com/] noteNdo: Jeff Donaldson (Brooklyn, NY) [http://audiovideo.sevcom.com/] Vadim Sprikut: audio (Chicago, IL) [http://shatteredhymen.com/] XTAL FSCK: jon.satrom & Jason Soliday (Chicago, IL) [http://xtalfsck.com] </Friday> :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  15. 15. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: <Saturday> [GLI.TC/H WORKSHOPS & LECTURES] @NIGHTINGALE THEATER (1084 N. Milwaukee Ave.); 11:00AM - 5:00PM (Oct.2); ------------------------//------------------------ http://nightingaletheatre.org/ Hardware Hacking Workshop ~ 11AM Patrick McCarthy [http://www.rubbermonkey.org/] & Alex Inglizian [http://cliplead.blogspot.com/] Glitch Codec Tutorial ~ 1PM Nick Briz [http://nickbriz.com/] GltchLnguistx: The Machine in the Ghost / Static Trapped in Mouths ~ 2:30PM Curt Cloninger[http://lab404.com] Realtime Glitching with Quartz Composer ~ 3:30PM vade [http://vade.info/] Nintendo Glitching glitchNES 0.2 ~ 5PM no-carrier [http://no-carrier.com/] [DATABENDING PIZZA PARTY] @NIGHTINGALE THEATER (1084 N. Milwaukee Ave.); 5:30PM - 7:00PM (Oct.2); ------------------------//------------------------ Come and share your hints/tips/tricks/bends/hacks over some pizza! ft. Daniel Temkin, Rosa Menkman, jon.satrom, Nick Briz, Evan Meaney, hellocatfood, StAllio, Jake Elliott, Jon Cates, and you ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  16. 16. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: [GLI.TC/H RUN.TIME & REAL.TIME PROGRAM II] @NIGHTINGALE THEATER (1084 N. Milwaukee Ave.); 7PM - 8PM(screening) 8PM - 10PM(performances) (Oct.2); ------------------------//------------------------ http://nightingaletheatre.org/ [program] Glitch Envy 5.75m //2010 :Jodie Mack [http://jodiemack.com] Styrofoam 3m //2010 :Theodore Darst [http://www.theodoredarst.net] The Vernacular of File Formats [R3M1X] 5m //2010 :Nick Briz [http://nickbriz.com] Errata 6m //2005 :Alexander Stewart [http://www.alexanderstewart.org/] Spiderman vs Macrovision 3m //2010 :Clint Ens [http://vimeo.com/clintenns] Headbike Motorbang 1m //2009 :Nick Salvatore [http://vimeo.com/user1222245] NES Glitch Compolation (slected excerpts) 6m //2004 :Johnny Rogers [http://www.geojedi.org/johnnyrogers/] Too Many Cats! 1.4m //2010 :Jon Satrom [http://jonsatrom.com/] smilescheckersbargains .5m :James Connolly [http://destructionsequences.blogspot.com/] The Fast Runner Runs From The Infinite Copy 3.3m //2010 ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  17. 17. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :Ben Pearson [http://vimeo.com/user1595523] Power Wagons 9.5m //2009 :Jimmy Joe Roche [http://www.jimmyjoeroche.com/] Rex 3.5m //2006 :Karl Klomp [http://www.karlklomp.nl/] Bootleg 2.5m //2006 :JB Mabe [http://vimeo.com/user2639741] Nuke ‘Em Duke 3.5m //2010 :LJ Frezza [http://ljfrezza.com/] [performance] James Connolly (Chicago, IL) & Eric Pellegrino (Whitehouse Station, NJ) [diecomputer.org] Arcanebolt: Tamas Kemenczy (Toronto, Canada) & Mark Beasley (Chicago, IL) [http://arcanebolt.net/] Jeronimo Barbosa (Recife, Brazil) [http://jeraman.info] Andrew Bucksbarg (Bloomington, Indiana) [http://organicode.net] Ben Baker-Smith (Chicago) w/ Evan Kühl (Madison, WI) [http://bitsynthesis.com/] StAllio! (Indianapolis, IN) [http://www.animalswithinanimals.com/stallio/] [GLITCY DISCO 21+] @CLUB FOOT (1824 W.Augusta Blvd.); 10:00PM - 2:00AM (Oct.2); ------------------------//------------------------ http://is.gd/fkR9w [DJ Sets] Daniel Barthel Jon Tanner Bad New Future Krew [http://badnewfuture.us/] </Saturday> ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::
  18. 18. :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: <Sunday> [GLI.TC/H ARTIST TALKS & LECTURES] @SAIC FLAXMAN THEATER (112 S. Michigan Ave. #1307); 11:00AM - 2:00PM (Oct.3); ------------------------//------------------------ Adam Trowbridge & Jessica Westbrook [www.atrowbri.com] & [http://www.jessicawestbrook.com/] 11:00AM - Glitch Bodies/Brains: Different Functions and Modes Daniel Temkin [http://danieltemkin.com/] 11:45AM - Artist Lecture noteNdo [http://audiovideo.sevcom.com/] 12:30PM - Artist Lecture 1:15PM JODI [http://wwwwwwwww.jodi.org/] </Sunday> ::::::::::::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: :::::: ::::::::::::::::::::::::::::::::::::::::::::::::::::