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(`'•.¸(` '•. ¸ * ¸.•'´)¸.•'´)

2008-07-06T17:18:00.025+02:00

«´¨`¸* Introduction *¸´¨`»

(¸. •'´(¸.•'´ * `'•.¸)`'•.¸ )

In 1961, in the First Preface to Histoire de la folie, Foucault writes that the modern man and the madman no longer communicate; there is no longer a common language connecting the two; there is only silence. According to him, the language of psychiatry, which is a monologue of reason on madness, was able to establish itself only on the basis of this silence:

[…] the constitution of madness as mental illness, at the end of the eighteenth century, affords the evidence of a broken dialogue, posits the separation as already acquired, and thrusts into oblivion all those imperfect words, without a fixed syntax, and a little stammered, through which the exchange of madness and reason took place.

Foucault writes that reason is the cultural standard against which everything is measured up. Everything that falls outside of this standard falls inside a void. But this void constitutes culture as much as everything that culture itself is made up from; consequently, there can be no reason without madness. While reading this preface, the many similarities between madness and particular (current) art practices got me very excited. My comparison was particularly focused on the field of digital glitch art.
I use the term glitch (in digital glitch art) as a sign of a break from a flow within a system, which often results in a perceived accident or error. A glitch occurs when there is an absence of an ideal functionality, whether understood in a technical, or social sense. Therefore a glitch, as I see it, is not always strictly a result of a technical malfunction, and its cause is not always technically definable. Focusing on the glitch within this broader perspective makes it possible to include some of the more interesting political and social uses of the glitch within the field of digital art.
Foucault concludes his Preface with the observation that the role of madness within ‘the history of becoming’ is a very small one, and does not alter the great, reasonable calm of history. Even so, he sets out to write an archaeology of the silence that exists between the man of reason and the man of madness, because, as he puts it, interrogating what is outside a culture is to question a divide.
I think that, in accordance with Foucault’s conclusion, there is a need for a better understanding of glitch art, whether focused on its political significance or its position within art history. The In-between Manifesto (Faber, Heijden en Menkman, 2008) can be considered as a starting point for this quest.

Foucault, M. “First Preface to Histoire de la folie” and Preface to the Italian edition of “La volonté du savoir”. In Pli 13 (2002):1-12.
Online: http://www.warwick.ac.uk/philosophy/pli_journal/vol_13.html p. 6

Williams, Raymond. Television: Technology and Cultural Form. Hanover: University Press of New England, 1974.

Sunshine out my throat

2008-07-05T13:05:00.003+02:00

￭￨￭￭￨￭￭￨￭￭￨￭￭￨￭￭￨￭￭￨￭￭￨￭￭￨￭￭￨￭￭￨￭￭￨￭￭￨￭￭￨￭￭￨￭

Once in the so many years, I actually do get sick. The doctor is not really sure what it is, but fact is that I do feel better then these fish I prepared with some love. It might give me some time to update my dusty old blog.

In-between Manifesto

2008-05-30T13:52:00.005+02:00

By Lievnath Faber, Tim van der Heijden and Rosa Menkman.

IN-BETWEEN MANIFESTO

We are the Interdividuals
We are the people that celebrate the in-between. Our manifesto is meant for everyone. One who is 'in-between' is neither an isolated individual nor part of a collective; one is in-between. Someone who is in-between is called an 'interdividual'. Whereas Nietzsche spoke about 'individuals' becoming 'dividuals' in modern society (absorbed or literally divided through the mass), we define the self always in relation to the other and, therefore, speak about the 'interdividual'.

We are not goal-oriented
We do have a goal, but we are not goal-oriented. Being goal-oriented equals reducing all your actions to a means to reach an absolute goal. However, there is no absolute goal or final point. The dominating goal of our times is progress; becoming better, stronger, faster, etc. This goal always remains at the horizon (of the better) and the distance to it always remains the same; there will always be another improvement. This perceived goal is in a constant state of development, improving itself constantly, never resting at a certain state.
Our goal lies within the realm of the here and the now. In this here and now, we aim to develop a consciousness of the mechanisms of this goal-oriented society.

We proclaim the ontology of the in-between
The twentieth century should be regarded as the century that proclaimed the death of the discipline. The end of art (Danto), history (Fukayuma), politics (Schedler), science (Horgan), philosophy (Heidegger) and religion (Feuerbach).
We think that this century ought not be considered as a final stage but as a new era, the era of the "inter" (in-between). Our goal is to celebrate the in-between and embrace the era of the "inter", in which the keywords are ‘interdisciplinary’, ‘interactivity’ and ‘intermediality’, etc. In doing so, the manifesto sets out to create an ontology of the in-between.

We find interpretation more valuable than Truth
Contemporary conflicts, according to 'thinkers of difference', can only be solved when all perspectives are able to see themselves in the Other(s). Consequently, reality as a concept as well as a practice, cannot be defined within entities, but is defined within differences. Hence 'reality', 'world' or 'truth' is always in-between.
The ‘in-between’ is always multilayered. Therefore, an interpretation is eventually more valuable than the Truth - after all, the Truth is always a hegemonic dominant narrative based on a singular perspective. We believe that what one calls 'truth' is a construction of interpretations. This 'truth’ is plural, multivocal and interconnected to other 'truths' and to be found in-between. After all, as the old expression goes, “the truth is always in-between”.
(Mulder was wrong, the Truth is not out there!)
Nonetheless, we should never be sure and risk rigidization and totalization of our concept of the in-between. We recognize that the ‘truth’ is always a constructed instability of meanings (although we must always stay pragmatic). Consequently, we are willing to constantly revise our statements in interaction with our environment. The manifesto should thus be regarded as an open invitation to explore and interpret the in-between.

We react to the spirit of our time (Zeitgeist)
First of all, we deal with the death of the discipline (as mentioned before).
Secondly, we take a stance against the binary and linear approach to life and the world's non-existence of return. In the binary and linear system, technology is no longer a means but has eventually become a goal in itself. We want to become circular again (in the sense that there is an plurality of circles in-between the constructions of 'truth', 'reality', and also 'time') in order to embrace the eternal return of the ‘in-between’.
Finally, we feel that today, one is, without realizing, caught up in a linear flow of technology and its content. Flow is constructed within the capitalist world and the 'society of the spectacle'. In this preprogrammed, patterned flow, one has lost control and one’s active choices are being suppressed by political powers at work. A part of flow is escapism. Although our society is completely based on escapism, it becomes harder to choose one’s own form. A characteristic of the flow is the freshness fetish, through which we perceive the need to be on top of every development.
We want to recapture our agency and regain the power of choice again, but underline that with the repossession of active choice comes the duty of responsibility. In order to recapture our agency, we must create an awareness of the flow.

We engage with the present through a dialectics of becoming
Although most manifestos are aiming for certain change, our manifesto is located between future and past and embraces the endless repetition and difference of the subliminal 'now'.
We do not want to ‘become’ in terms of progress. After all, progress is not the equivalent of change. We want to change without progress; we want to become who we are in the HERE and NOW! We want to engage with the present, since the present is always in-between past and future.

We endorse the use of media in an intermedial way
A medium must always be used in an intermedial way. This means to evoke 'tensional differences' between media (a medium is always in relation to another medium), modes (a symbioses of text, image and sound) and frames (we celebrate montage not the frame). Subsequently, a medium must always be used in a self-reflexive and sensible way and should not decay into a multimedial spectacle or Gesamtkunstwerk. In doing so, the medium is able to break with its conventional use and, therefore, to break with the conventional ways of making meaning.

We become interdividuals through interesse
The interdividual is always and only becoming in relation to others. Interdividual relations are based on 'asymmetrical reciprocity'. In order to become interdividual and engage in asymmetrical reciprocity one needs to be affirmative. Affirmativity means to connect to the forces that make you active and enables (enable?... the forces enable.. maar 'affirmativity enables you to do this, right?) you to connect to the other. Therefore, affirmativity is characteristic for "interesse" since it enables it; one has to be affirmative in order to be(come) "interesse-ted": being (esse) in-between (inter).
Only when one is not goal-oriented, having an ‘aimless walk’ (Dérive), one is able to ‘see’ and ‘be’ in the in-between. Therefore, there is always room for new meanings and new perspectives.

We celebrate the perceived accident [via the destructive qualities of the void]
Every technology has its own accidents. Although many people perceive these accidents as negative experiences, we would like to emphasize their positive consequences. We feel that in this day and age we need systematically distorted communication, because this opens up possibilities for discussing technologies and their internal politics. A way to create this systematically distorted communication lies within the technique of the void.
The void is not only a means to perceive, it is especially a lack of meaning, often a place where a medium is used in an inversive way and where the message of the medium is destroyed. In this space one is triggered to reflect upon the conventional frames, to criticize the flow, which we have taken for granted and through which we are conditioned to take part of the spirit of our time.

We make meaning through imagination [via the constructive qualities of the void]
The void is often a place where meaning is intentionally ruined.
We understand the concept 'ruin' both as a noun and a verb, a process (to ruin) and an object (the ruined picture). As a counter-reaction to this ruin, we use our imagination. The ruins' formal fragmentation signifies that its meaning is ‘open’ to interpretation and meaningful engagement. Through systematic use of the void one is triggered to perceive the world differently by means of one's imagination. By increasing the degree of imagination, and therefore one's degree of interactivity, one is able to avoid the flow and the framing of media and grasp more of its internal politics. Moreover, through the void one can go ‘beyond representation’. The void obliges us to start making meaning actively. We need techniques of the void in order to reterritorialize our environment and, therefore, ourselves. Thus, imagination is a crucial part of the constructive function of the void. We state that the void is a deconstructive power, which one can use to enter the realm of the in-between.

Radio Dada

2008-04-20T21:09:00.006+02:00

Click To Play

The video-images are constructed out of nothing but the image that feedback created [I focused a high end camera to my screen that showed, in real time, what I was filming, creating a feedback loop]. Then I glitched the video by changing its format and subsequently exporting the video into animated gifs. I [minimalistically] edited the video in Quicktime. Then I send the file to Extraboy, who composed music for the video.
The composing process started with a hand held world radio. Extraboy scanned through frequencies and experimented with holding the radio in different parts of the room while touching different objects. Eventually he got the radio to oscillate noise in the tempo that he perceived the video to have. The synthesizer sounds that were added were played live to further build on a non-digital sound and rhythm. This was later contrasted with drums which were digitally synthesized and processed through effects with a very digital sound to them. Just like the video, the mixing of digital and analogue media and aesthetics is mixed into one coherent whole.

Esther Mona Lisa

2008-04-04T01:30:00.014+02:00

Glitch art is often not just abstract, it is non figurative. This glitch is a disfiguration of a moving image, a tradition that started within the first World War, in which the real was heavily mutilated, often completely broken. Right under the surface of the glitch are the wounds that war and terrorism actually made. The glitch is just a camouflage, a new form of a practice that resonates broken aesthetics throughout the history of contemporary art.

˙sʇlnsǝɹ ǝɯos ǝɹɐ ǝɹǝɥ ˙ƃuıssǝɹdɯoɔ puɐ ƃuıɥɔʇılƃ ɟo sʎɐʍ ʍǝu ǝɯos ɥʇıʍ sƃuıɥʇ pooƃ ǝɥʇ ǝʇɐɹqǝlǝɔ oʇ pǝpıɔǝp ı ˙ʎɐpɥʇɹıq ʎɯ sɐʍ ʎɐpɹǝʇsǝʎ ʍou ˙ɟɟnʇs ƃuıʇıɔxǝ ʎɹǝʌ llɐ ˙ʍǝıʌɹǝʇuı pɥd ʎɯ pɐɥ ı ǝɹǝɥʍ uopuol ɯoɹɟ ʞɔɐq ʇoƃ ʇsnɾ ı ˙ƃuıʇsǝɹǝʇuı ʎɹǝʌ uǝǝq sɐɥ ʞǝǝʍ sıɥʇ os

Eastern Fire Swim

2008-03-26T23:38:00.016+01:00

¤¤¤click¤¤¤

The tv is glitched, analogue-ous-ly. the sound is the new software that Goto80 uses, unfortunately glitched [hehehe] look at u tube!. In Sweden there is only snow, glitches and bitches.
Did we just construct some instability here? Maybe this is a non-message, but it is also my 100thst post!' (^¨~ yeay!

Familj / Oaktabarn

2008-03-08T20:42:00.005+01:00

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Familj, or rather at this point, Studies for Familj, is a research project in which we investigate a family of digital artifacts consisting of Glitch, Noise, Feedback and Compression. Together we strive to make a compilation of music videos, which contain both a sense of their physicality as well as their digital side. In doing this, we get an even bigger understanding of the ways the bowels of the machine work.

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Myspace

2008-03-06T21:29:00.012+01:00

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www.myspace.com/r0oo0s
I almost got stuck in a interpersonal communication based cybernetic feedback loop.
but i got myself out of it, without using elfriendo

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404void.iq

2008-03-05T13:06:00.003+01:00

Within the project ‘Diagnosing the Condition of Iraq: The web view’, DMI tried to diagnose the social conditions of Iraq via a web analysis. The Iraqi websphere consists largely out of news, blogs and commercial and governmental sites. In an early stage of our analysis it became clear to us that there is no evident interlinkage between these different Iraqi sites, and that they form isolated webspheres. This is a result of the history of the Iraqi web, which has been formed within three periods. The development of these three periods of the Iraqi web are forced by shifting convictions, beliefs and power relations. Every time a new shift occurred, it seems to have cut through the existing web, amputating or even destroying its former. With the help of historical web footage and standard Web-state forensic metrics, these cuts (invisible lines within an invisible matrix of powers) can be traced back. This study discloses a fragmented, shattered and isolated webspace, lacking interconnectivity of the different webspheres and characterized by anachronistic forms of code and design. This isolation is also evident by the lack of backlinks to Iraqi websites from elsewhere on the Web.[1]One can conclude that these strategies of amputation, that could be understood as censorship, expressions of denial, repression of memory or just as digital erosion didn’t end with the downfall of the Saddam regime and the new installation of the Interim Iraqi government in 2004, but still seem to form an integral part of whole Iraqi websphere, including the new .iq domain.

Another finding of our research in September was the fact that, although ICANN gave Iraq officially permission to use the .iq country code on the 5th of August 2005, this was hardly used. most of the websites (we counted 18 in total at that time) were registered in America (15 out of 18). Moreover, non of the found websites were actually registered in Iraq. I made a 18 second gif that shows all the websites that we could find back then. Last month I did the same research over and found out that the .iq web has been growing. I found 28 websites, of which 16 were registered in the US, 5 were private/non available and non still were registered in Iraq).

My project, which I named 404Void.iq, can be understood as an attempt to represent the history of the Iraqi web. This representation however, will always be interwoven by a notion of absence, brokenness and loss (as is illustrated by the list of disappeared urls in appendix 2). The history of the Iraqi web cannot be presented as a whole because it will never be a totalized product. There is no permanent history, but a history that shifts and is actively written and rewritten by acts of censorship, restructuring and developing of the .iq domain (and other Iraqi webspheres). From this point of view, the Iraqi web contains a paradoxal tension between linearity and non-linearity. on the one hand the Iraqi web answers to the intrinsic qualities of the link that structures the web as non linear and on the other hand the web is structured via strict lines of power, boarders, laws and many more lines that cut it.

404Void.iq creates a place for dialogue between the history of the different webs. It can be understood as intentionally ruined. This ruined state of the archive is a repercussion of the cutting lines of power of the Iraqi websphere as a whole. In this context the concept ruin is to be understood as both a noun and a verb, a process and an object. Ruin thus means a mode of working but also simultaneously, underlines the constructedness of 404Void.iq, a constructedness in which the surfer can participate through making meaning and choosing his path.

404Void.iq is a place where history becomes embodied, like in a monument. To commemorate the impossibility of actually ‘being there’; it ‘stands in’ for the past. The monument pays attention to the past-ness of the past, or acts as a reminder of absent content, domains and websites.[2] Unlike many monuments, 404Void.iq doesn’t glorify its content, but commemorate an unimaginable past of breaking powers. I would therefore like to connect 404Void.iq to what Andreas Huyssen calls an anti- or counter.[3]

In S/Z (1970), Barthes described an ideal text that consists of that are linked to each other with different paths or series and which are open ended. In this text, the networks are many and interact, without any one of them being able to surpass the rest. The text is a galaxy of signifiers, not a structure of signifieds; it has no beginning; it is reversible; we gain access to it by several entrances, none of which can be authoritatively declared to be the main one; the codes it mobilizes extend as far as the eye can reach, they are indeterminable […]; the system of meaning can take over this absolutely plural text, but their number is never closed, based as it is on the infinity of language.[4] In this text the reader can construct his own meaning, by choosing his own path. Therefore, the constructed meaning (of for instance the architecture) is never ‘true’. To Barthes, the goal of the ultimate text is not to be consumed, but to be produced.[5] A writerly text, in which the reader can produce meaning.[6] If we accept Huyssen’s suggestion of ‘the city as a text’, we could also try to understand the Iraqi web as a text. Barthes’ conceptdeath of the author could be transformed into the death of the website creator.

[1]
http://wiki2.issuecrawler.net/twiki/bin/view/Dmi/DiagnosingTheConditionOfIraq:TheWebView

[2]
Stead, Naomi. The Ruins of History: allegories of destruction in DanielLibeskind’ Jewish Museum. Open Journal Volume 2: Unsavoury histories, August 2000. p.1.

[3]
Huyssen, Andreas. ‘Monument and Memory in a Postmodern Age’, in: Young, James E. ed., Holocaust Memorials. The Art of Memory in History. Munich - New York: Prestel, 1994. p. 15.

[4]
Barthes, Roland. S/Z. Paris: Seuil, 1970. p. 5-6.

[5]
Barthes, Roland. S/Z. Paris: Seuil, 1970. p. 5-6.

[6]
Barthes, Roland. S/Z. Paris: Seuil, 1970. p. 5-6.

Video Vortex

2008-02-24T16:25:00.003+01:00

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I finished the Video Vortex vlog. you can check it out here

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First Born

2008-02-04T00:22:00.001+01:00

Click me not

A live recording, nothing edited...
more of The family to come

Egypt

2008-02-03T00:20:00.000+01:00

Click me not

I got back from my little escape to Sweden and London and wanted to post my vj glitch of last week but instead I got stuck in Egypt. ∆∆∆∆∆∆ Extraboy is my hero ∆∆∆∆∆∆

compress me

2008-01-10T23:31:00.000+01:00

Click To Play

poem that was supposed to be good for stomach and brain

2008-01-05T16:47:00.000+01:00

Click To Play

This is a poem to make your stomach better.
It can be viewed in different ways. I made a video to show you 2 of the ways. I think it would be better to send it to you by fax but I don't have access to any.
The one reading, in 'Normal Layout', is about you alone. The second reading is in 'Online Layout'. It seems that the poem is about connected entities that way.

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internet2008.se

2008-01-05T00:29:00.000+01:00

Click To Play

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in two weeks I will do a vj glitch at Video Vortex.
Here is what the programme says:

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"My main interests have always revolved around inverting the default use of new media technologies, both hardware and software-wise. During my Video Vortex VJ set, I will try to make a collage of ways that this can be accomplished within the video medium, focusing primarily on the concept of the glitch. The English term 'glitch' means a malfunction or an error and is generally used to indicate a small defect within a technology.
Some of the glitches I will show happened accidentally, while others are triggered on purpose. For me a glitch is a form of machine poetry; a way to vocalize the internal workings of a technology."

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And then something else: My friends started a project, internet 2008. Which means one mp3 release accompanied with picture or occasional video (sometimes by me!). nice! and they have a nice blog too .. : )

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iglitch

2008-01-02T17:23:00.000+01:00

Click To Play

Rosa Moln

2007-12-15T18:10:00.000+01:00

Click To Play

For a bigger, better view just click here

music: extraboy

girls glitch too

2007-12-01T18:01:00.000+01:00

Click To Play

While traveling through networks she discovered she existed. One day somebody committed burglary into her brain. Her shell was cracked and she became one of those people with hacked souls. She thought she had seen it all, but now she was a cyborg with a parallel memory.
She must be a decompression.

When everything around you changes it is so hard to stay yourself.

Jodi Quartered

2007-11-29T16:52:00.000+01:00

In October 2005 I visited the exhibition World Wide Wrong in Montevideo, the institute for media art in Amsterdam. This exhibition showed an overview of the works of the Dutch/Belgium art collective Jodi. Untitled Game (Jodi, 2006) was one of the works that was on display. Untitled Game is a CD (and a web site) containing twelve heavily modded versions of the videogame QUAKE 1 (id software, 1996). My confrontation with this work was disturbing, since I used to play the game a lot when I was young. The game was broken and glitched and winning seemed to be impossible. Sometimes only the original sounds made me recognize Quake. After reading some more about the work and the collective it self, I fell in love with it and decided to dedicate my thesis to them. Through time I collected a lot of heir works, but I still have problems when I try to oversee their complete oeuvre. In another work, Morse, Jodi appears to send messages to people that pass it by.

“In MORSE, a film of a flashing light bulb was projected (a ‘night light accordion’). A small disco ball reflects the light. The flashing of the light is controlled by a computer program that translates Morse code into impulses, a program that is used by radio-amateurs. […] Paesmans: It actually started as more of a joke, that it’s a Morse is actually not so very important. The message is just random words, even though the Morse code is real.”

The empty code of Morse can be read as an example of Jodi’s general intent to make something without content or detail and their tendency towards abstraction, which is inherent to almost all of their work. For a long time, Jodi didn’t speak about their work in public, nor did they call themselves artists. Throughout the years, this attitude seems to have changed. The works %20NETWORK en 100 | BAKLAVA are examples of this shift, since Jodi situate themselves actively within the art world. In my thesis I put Jodi literally on a torture rack, to Quarter their body into four perspectives. In the first perspective I touch upon the contradiction between high and low art, via Critical Theory. In the second perspective try to esthetically perspective (in this chapter I use the aesthetics in an the active sense, not in the passive contemplative way) subsequently I put the work in a historical perspective (both an art historical and a technological historical perspective) and wrote a chapter on the ephemeral … I handed in my thesis (Dutch) in June 2006. So it is already quite dated.

You can find my thesis here and the attachments here. The thesis is in Dutch but since I never put it online I thought today would be the day.

B000 update on some state of affairs

2007-11-28T17:23:00.004+01:00

In my last post I was really happy that I got my new assignment, one video a week. Right now it seems that I should be even more happy since the next day I got a great work offer for the coming 2 weeks. More on this later. This cool work comes together with a lot of stress, no sleep and lost time and thus the accompanying glitches.

In the meanwhile I also started my new master thesis. This one is on Glitch Art. Any help and input, thoughts, artists and more are very very very more welcome and very much needed. GIVE ME please...?!

načechrané obláčky and Flebb

2007-11-07T18:52:00.000+01:00

Please let both videos load completely before watching them.

načechrané obláčky and Flebb is the kick-of video for my new ‘one video a week’-project, that I am starting together with Extraboy.
načechrané obláčky and Flebb is also a response to the Video Vortex conference I attended last month, in Brussels. In this conference Adrian Miles talked about YouTube, and all video distributing sites on the web. In his talk, Miles main issues were, as Michael described in a post one month ago:

“Where does an online video end - at what point is it ‘complete’? Are those limits imposed by technology or are they lingering clichés of narrative form (as opposed to Manovich’s ‘database’)? Can online video be imagined differently, outside the frames of cinema and TV?"

Miles wants to rethink video. According to him, online video distributing sites will only have a future if they make their content granular; tagging scenes and shots, linking between them and in so doing making it easy to remix content at the level of the smallest possible unit. He wants to open up a space that he calls soft video.
Since blip (the video distribution site I use) or any other video distributing website doesn’t incorporate the options that make soft video possible, I wanted to try if there are other ways to get closer to at least some sense of granularity. načechrané obláčky and Flebb is my experiment.

načechrané obláčky and Flebb is a music video consisting of two separate screens. One, (the upper) screen is linear and synced with the music. The second, lower screen is a random video that can be remixed or scratched by the viewer, using the timeline as a tagging system.
načechrané obláčky and Flebb doesn’t realise Miles soft video. But it might be a start to think about options to get there.

Listening to the heartbeat of my scanner

2007-10-27T21:45:00.000+02:00

Pixel blowup

2007-10-15T08:27:00.001+02:00

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Best seen fullscreen: internet explorer

Peter Horvath @ Video Vortex

2007-10-08T00:33:00.000+02:00

This weekend Masters of Media visited Video Vortex in Brussels. Video Vortex is a recurring conference, organized by the Institute of Network Cultures and mainly focuses on the independent production and distribution of online video content. This time, the conference was concentrated on a couple questions of which one was: How are people utilizing the potential to independently produce and distribute independent video content on the Internet?

One of the speakers at the conference that tried to answer this question from a very personal point of view was the artist Peter Horvath. Peter Horvath works in video, sound, photo and new media. "Camera in hand since age 6, he inhaled darkroom fumes until his late 20’s, then began exploring time based art processes. He immersed himself in digital technologies at the birth of the Web, co-founded 6168.org, a site for net.art and adopted techniques of photo montage which he uses in his net and print based works."

In his presentation, Peter gave a short introduction into his work and then showed a very beautiful selection. One of them, Tenderly yours (2005), stood out for me. In this work, Peter "resituates the personal, casual and ambiguous approach of French new wave cinema in a net.art narrative that explores love, loss and memory."
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Spinplant

Post number 80; for Extraboy

2007-10-07T17:33:00.000+02:00

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Washmountain AKA together in my freezer.
More Extraboy can be found here
This video was made in one night, before we went to Brussels. Now I am collecting molds and still looking for an amoeba. any suggestions?