"Abstract: Chiptune refers to a collection of related music production and performance practices sharing a history with video game soundtracks. The evolution of early chiptune music tells an alternate narrative about the hardware, software, and social practices of personal computing in the 1980s and 1990s. By digging into the interviews, text files, and dispersed ephemera that have made their way to the Web, we identify some of the common folk-historical threads among the commercial, noncommercial, and ambiguously commercial producers of chiptunes with an eye toward the present-day confusion surrounding the term chiptune. Using the language of affordances and constraints, we hope to avoid a technocratic view of the inventive and creative but nevertheless highly technical process of creating music on computer game hardware."
Vrgb VHS Visual Music Composition n.002 from Jan Dybala JD Video on Vimeo.
excerpts from a live mixing session performed on 8 VCR decks with some analog feedback/delay effects.
A sign at the entrance to “FAX” tells viewers that the exhibition was organized by The Drawing Center and that its subsequent tour will be managed by Independent Curators International. A show of artists’ faxes could be exceptionally travel-friendly—just call the artists and ask them to send their work again. But iCI plans to do it the hard way: The original faxes will be taken down and transported to the next venue, along with the three-ring binders full of faxes displayed on a desk in the gallery’s simulated curatorial office. That decision could be chalked up to the art world’s reverence of scarcity, or it could be seen as a sign of heightened attention to the medium. All of the pages bear the machine’s signature, a line at the top that identifies their dates and origins, which bolsters the idea that each work is a specific act of communication between the participating artists and curator João Ribas.
The expendability of the medium encouraged playful responses. Sam Owen flipped and exceeded the standard 8”x11” sheet of paper in his letter to Ribas, which he wrote out by hand in big, chunky letters on a few dozen sheets of paper, enough to cover several square feet of the gallery’s back corner. Olav Westphalen sent cartoonish instructions for setting a fax machine aflame: draw a fire on the cover page, extend its rising column on the second page, then set it on a loop it so that the receiving machine keeps working until it overheats and starts spewing real smoke. Amanda Ross-Ho took a more philosophical approach. She printed out photographs of products for sale at ...
Participatory Politics Foundation
This week's highlights from the The Rhizome 50,000 Webpage feature four exciting non-profit organizations that showed their support by purchasing a place on the grid.
Wanna get involved and share your project? Buy some pixels!
By switching a typical mousepad with a sheet of paper, I am able to collect an echo of my computer use over the course of a few months. The resulting drawing embodies both a warm earthy tone while also being indicative of the filth one accumulates through prolonged use of technology.
The Creative Capital | Warhol Foundation's is now seeking applications, see below. For application and complete guidelines, please visit their site. Deadline is Monday June 8, 2009. (Note: Grants are only available to U.S. citizens, permanent residents and holders of 0-1 visas.)
The Creative Capital | Warhol Foundation Arts Writers Grant Program supports individual writers whose work addresses contemporary visual art through grants in the following categories: articles; blogs; books; new and alternative media; and short-form writing. Grants range from $3,000 to $50,000 depending on the needs and scope of the project.
Designed to encourage and reward writing about contemporary art that is rigorous, passionate, eloquent and precise, as well as to create a broader audience for arts writing, the Arts Writers Grant Program aims to strengthen the field as a whole and to ensure that critical writing remains a valued mode of engaging the visual arts.
Film, video and photography once fell easily into two categories: professional or amateur. Professionals mastered their crafts, often through guild-like programs of training, and sought to make a living from their abilities. Amateurs learned on their own, or through informal clubs of like-minded aficionados, and pursued their arts for reasons other than money or wide-ranging prestige. Professionals pursued careers. Amateurs pursued hobbies.
In the past two decades the art project - in lieu of the work of art - has without question moved to centre stage in the art world’s attention. Each art project may presuppose the formulation of a specific aim and of a strategy designed to achieve this aim, but this target is mostly formulated in such a way that we are denied the criteria which would allow us to ascertain whether the project’s aim has or has not been achieved, whether excessive time is required to reach its goal or even if the target as such is intrinsically unattainable. Our attention is thereby shifted away from the production of a work (including a work of art) onto life in the art project; life that is not primarily a productive process, that is not tailored to developing a product, that is not ‘result oriented’. In these terms, art is no longer understood as the production of works of art; but as documentation of life-in-the-project, regardless of the outcome the life in question has or it supposed to have had. This clearly has an effect on the way art is now defined. Nowadays art is no longer manifested as another, new object for contemplation that has been produced by the artist, but as another, heterogeneous time-frame of the art project, which is documented as such.