[-empyre-] glitch device

jonCates joncates at gmail.com
Tue Dec 6 04:44:20 EST 2011

GLI.TC/H "...spanned a vast spectrum of media and origins. “We received 450
submissions from over 20 different countries,” said Rosa Menkman, who
curated the festival along with Nick Briz, Evan Meaney and Jon Satrom...
The future of the GLI.TC/H Festival and of glitch art looks optimistic...
The curators themselves share a sense of optimism based on the  booming
success of this year’s festival. “It’s hard to think about next year,” says
Satrom, “but we started big and hopefully it’ll start cascading.” “Well,
last year we had one festival and  this year we have three, so next year
... nine?” jokes Meaney. “Spreading like a virus,” adds Menkman."

Bent Circuits and Bleeding Pixels: The second annual GLI.TC/H Festival -
Brandon Goe (2011)

"We try to create an open, fluid space for the communities that struggle or
work within these perspectives and provide a meeting place for conversation
about classic subjects surrounding these communities" - Rosa Menkman on
-empyre- (2011)

i want to pix up here warez Julian (hallo again Julian) ended:

"Perhaps we should talk about 'glitch' (in the original sense) and
'gl1tch', in its prepared, self-conscious sense." - Julian Oliver on
-empyre- (2011)

on prepared && preparedness. John Cage's Prepared Piano was the inspiration
by which Ben Chang + i began discussing Jon Satrom's work as Prepared
Desktop, a phrase Satrom has taken on + titled projects after. JODI of
course inspires Satrom, from bax in the browser daze until today. JODI's
My%Desktop project is this impulse/approach: http://mydesktop.jodi.org

&& Satrom as well as many others have been so deeply/fundamentally inspired
by JODI in general + this project in specific

the idea of preparing a computer for realtime Noise && Dirty New Media
performance is an impactful move which is connected to Experimental Musics.
we have bin showing the desktop + using/developing Operating Systems for
just about 10 years now in the Chicago glitchscene. its a simple yet still
surprising gesture, in that this kind of performance of media or
recordings/renderings made in this manner (+ yes, by this i mean that they
are mannered) open a perspectival moment for people. they give ppl a
perspective we are conditioned against by consumerist computer cultures we
live in, which have been developed by the corporations that invented the
concept of commodifying Operating Systems (i.e. Microsoft) or stole the
business plans of marketing to children, musicians + artists (i.e Apple).
so this simple starting place is in fact about acknowledging + confronting
sum American-born consumerist/corporate ideologies in a way that  presents
other options or upends existing defaults

+ then, from that starting place, various outcomes can occur in realtime.
the glitchscene that gave this international glitch moment(um) sum push
from Chicago has been explicitly engaged in/+ w/improvisation + inspired by
Experimental Musics whose trajectories incl Free Jazz, Experimental
Electronics, Noise Musics + other forms which are often improvisational

an improvised realtime performance of a prepared system gives rise to a set
of known + unknown outcomes. in sum cases unknown outcomes outnumber known
outcomes, which may only be small events along the path of the overall
performance project

i know this through observation, research, practice, performance + theory.
i know this through being a part of a community, having organized Dirty New
Media Art events featuring my friends I LOVE PRESETS from their beginnings
(1), developing such performances in collaboration w/Satrom such as in our
former collaborative project sys.view | view.sys (2) + in my similarly
inspired collaborations w/Jake Elliott such as our 0UR080R05 (3) project
which we discuss in the Media-N Journal here:

i know through life that art can be transformative. i have chosen to live +
work in art as an educator. i teach the arts we are discussing in this
month on -empyre-.  i teach them b/c i believe in them

there are many art worlds or even many mini New Media Art wwwhirlds, of
which mayhaps a glitchscene is (a) 01. these art worlds are not only all
not alike they are also not even necessarily legible to 01 another... it
can require a great deal of translation to go between them

Andreas Maria Jacobs, i respectfully disagree w/what i read to be yr
anti-art position in its most generalized application when you write
w/sweeping confidence that "the art world's - deadly grip" is sum how a
totalized effect/affect which will steal away possibility + "eradicate
every possible trace of authenticity, replacing it with its commodified
merchandazible fetish derivate." mayhaps you are opposed to Institutional
Art or the institutions of art. or mayhaps the oppressive socio-economics
of consolidated wealth/power that give rise to exclusionary elitisms... but
if so, then these are specifics, not generalities, related to the unruly
category of what constitutes 'art' or even "Art". && even if these would be
the cases (that those are yr oppositions in specific) then those
fears/concerns are warranted in our current context but not sum how
predetermined. even the way 'we' (an inclusive term which may not be
well-placed here) dfn 'art' +/or "Art" is technosocial + culturally
contextualized. the dfns change + art modified over/through times

also Andreas Maria Jacobs, im confused/troubled by the positions you seem
to representing in yr -empyre- email. are you the same artist who makes
"prints on paper. Signed & numbered, editions of 3" of domesticated +
aestheticized Glitch Art which is exhibited in galleries (i.e. @
GLI.TC/H2010 in Chicago) + sold (or @ least intended to be sold) on
art markets?
this is what you represent about yrself vry clearly on yr website:

// jonCates

1. http://r4wb1t5.org/2005.05.25/
2. sys.view | view.sys -  jon.satrom ++ jonCates (2005 - 2006)
3. UR080R05 (1337 MODE INDEXED) – jonCates && Jake Elliott (2012 – 2007)
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