Watch a walk-through of the FULL SCREEN exhibition. You even get to hear a snippet of my music!
FULL SCREEN at Xpo Gallery in Paris explores the future of screens, curated by Aram Bartholl. Raquel Meyers has the PETSCII-piece Aztec Ballad there (losely based on this) for which I did some 606+64 bird electro.
FULL SCREEN also features works by Ai Weiwei, Petra Cortright, Constant Dullaart, Oliver Laric, Evan Roth, Rafaël Rozendaal and more.
Top photo by Olia Lialina.
L0v3 byt3s (NSFW) is a PETSCII-conversion of the old xxx-movie Love Bites. We made it as an impersonation of Vuk Cosic, famous for his ASCII-conversions of Deep Throat among other things. L0ve byt3s was made for Daniel Temkin’s exhibition Netvvorth, December 2013.
I made the music together with Zabutom and Linde, Johan Kotlinski coded it and Raquel Meyers did everything else.
The music is basically several long jams, pretty much unedited. The first one is me on defMON and Zabutom on some sort of modular synth monster. We recorded it in the Academy of Music and Drama in Göteborg – the perfect place for pr0n-music!
Somewhere in the middle this FM/ST-01 jam starts with Linde, and then more defMON and so on.
So it’s another release in a strange format. It’s audiovisual, but not video. It’s demosceneish, but not for the scene. Personally, I’d like to call this one a music disk, but it’s not exactly an established term. Should we just calt internet multimedia?
Anyway. You can insert your own text messages in the menu and get a custom URL for it. So send some <3 to your friends!
The video of the performance yesterday, made with two C64s. I make music from scratch (no sounds or sequences prepaired) and add effects with a delay pedal. The music software is shown on the screen, and Raquel Meyers mixes it together with her typed visuals. Everything is in PETSCII. Thanks to Geraldine Juárez for filming. Dataslöjd power!
The music basically goes from ambient to acid and broken beats (?) to noise. As in any jam, some parts are pretty bad but in general I’m quite satisfied.
The performance was part of Simultáneo in Mexico.
Dataslöjd is taking part in Simultáneo, an online event organized from Mexico. Me and Raquel Meyers will make an improvised C64 textmode show around 19.30 (GMT+2) – a bit like this – and then Geraldine Juárez shows Wealth Transfer. 2SLEEP1 is also showing, aswell as other videos from the other artists of Simultáneo.
Kung Fu Glitch, a little piece of C64-noise that me and Entter did in 2007, is currently showing at Gamerz Festival #09 in Aix en Provence, France. It’s part of 44422435, which was basically an evening of audiovisual butchery in Bilbao. Sorry to everybody whose work we destroyed – you’re welcome!
I’m not sure if this was before or after glitching games was cool. Or was it never cool? Always? I keep forgetting.
On August 28, Geraldine Juárez is showing her Wealth Transfer at Piracy Today – a London-exhibition by Hardcore Software. Geraldine made music based on the waveforms of stock market crashes, and I did a remix. It’s like finance disco pop with equal amounts of total power bass and paranoid statistics trance. FACT mentioned this among 10 absurdly limited records.
I was invited to this year’s International Teletext Art Festival (ITAF) and decided to make a music software called Remote Control Music Studio. If used properly, it allows the user to perform live and feed various TV- and radio-information into the software to use as audio waveforms, sync, modulations, etc.
For one month this will be shown on German, Swiss and Austrian teletext along with works by e.g Dragan Espenschied, Max Capacity, Raquel Meyers, Dan Farrimond, Ubermorgen, LIA, and several others. There are also some AFT (Away from TV) events, such as an exhibition at Ars Electronica later on.
> Read Teletext Art – An Overview at Chipflip
In June I made a performance called Dataslav at the Dataslöjd Summer Exhibition. In an abandoned police reception, full of important papers and secret telephone lines, I sat with my Amiga to receive orders from the guests. They filled in a form, and I set a timer to 5-15 minutes, depending on the complexity of it. When the clock rang, I stopped working and gave the song away on a floppy disk.
The idea was to turn “artistic composing” into “hard labour” or, since I didn’t get paid, “slave labour”. For music, video and info go to dataslojd.se. Also check the other works of the exhibition: Raquel Meyers’ Trevligt, Bra, Billigt and Geraldine Juárez’ Wealth Transfer.