Spraypainted ASCII-graffiti in Varberg, Sweden, 2016. Thanks to Karin Andersson for helping out!
I made a new ASCII graffiti piece, this time in colour. I made stencils for characters like / and _ and sprayed them one by one. This was a practice round for what I will do at the PLATINE festival in Cologne soon.
I started the day by catching a shaver falling from the skies with my hand and then cutting myself with a knife, which made this a very non-digital experience. Set in mO’sOul’s Amiga font!
A while ago I made an improvised live-set where people could tell me what to do, by filling in a form. It’s like the live-performed version of the more asynchronous previous Dataslav performance. And more abstract. Or concrete, maybe?
I made two 30-minute sets and the second one was documented by Jacob Remin, so here it is for you (wav). The forms below are time-stamped, so you can sort of follow how they influenced the music. If you understand Danish, that is. Which everyone does.
Since Austria’s teletext service ORF just turned 35 years old, Ars Electronica Center is now showing works from the International Teletext Art Festival of 2013 and 2014. Among them is, eh, “stills” from my Remote Control Music Studio from 2013.
Some pictures from my piece Linkan at the exhibition A Little Bit, running at Bei Koc in Hannover to November. Linkan is a song, here printed in three different ways: as an audio waveform, as the notations in the tracker software, and as data in the RAM. 21 meters in total.
Visitors can listen to the song as it runs in a loop on the C64. For the opening, I made two very different improvisations with the song, and recorded it on two unique master cassettes which destinies are uncertain.
Linkan can be seen as a comment on contemporary music formats in three ways. 1) The fixed and locked-in character of a recording (the audio waveform) is to some extent a violent treatment of the potentials of digital music formats. 2) The separation between performed or recorded music on the one hand, and sheet music (the tracker prints) on the other, is blurry at best. And yet it still underpins the music economy. 3) The RAM-print describes both sheet music and performance.
Gijs Gieskes, Sleutelkind, Anton Kaun and gwEm are also in the exhibition, aswell as two works by me and Raquel Meyers: 2SLEEP1 and Swapdisk (with various C64-productions). The poster design was made by Johann Zambryski.
Big thanks to:
Waka_x, Mathman, frantic & bolo for help with conversions
Cem Koc & Ptoing for print help
Kristoffer Bratt & Alma Alloro for crashing computers
Hollowman for c64 ram expertise
The Toilet for special measurement device
Following photos by Cem Koch:
At Lydgalleriet in Bergen right now: ‘Dangerous and spontaneous technology’ by Jacob Sikker Remin and Raquel Meyers. I wasn’t really involved in this manifestation of the project. But it builds on our previous fax adventures from Click, Transmediale and Demoteket. It’s part of Sonic Game Space that also involved Marieke Verbiesen and others.
HT Gold, a C64-game by me and Glenn Again, is now showing at Konsthallen in Sandviken, Sweden. They are also showing some prints from my book Computer Rooms. Also, I was supposed to play live there but had to cancel since, erhm, I mixed up the dates with Superbyte. If I have to blame something, I blame Canada.
Anyway, the exhibition PIXLIGT runs for a month so swing by and try it out. You won’t be disappointed!
Photo by Rosa Menkman
This Friday I’m performing at the opening for Snel Hest at Bar10 in Göteborg. Also a livecoded rave performance by Yaxu / Algorave, and Dataklubben. Snel Hest is an exhibition at Alingsås Konsthall with people from F.A.T, James Cauty from KLF, Raquel Meyers, and others. Geraldine Juárez put it all together, so better not miss this one! I’m included in Geraldin’e piece Porr i Skogen, and also a little bit in Raquel’s teletext piece.
The day after I will do an improvised C64-set for the party after the FARM workshop (Functional Art, Music, Modeling and Design). It’s at 3:e Våningen and starts at 8, with all performances more or less related to live coding. Yeah!
Matsamöt from 2SLEEP1 is screening at CLICK CLICK CLICK / Closing of Coded After Lovelace at Whitebox Art Center in New York, 2 September. Also features works from Lillian Schwartz, Geraldine Juárez, Olia Lialina, Rosa Menkman and many more.