Last week’s REMIX-IT-RIGHT screening at the Gene Siskel Film Center, the most recent output of Jon Cates‘ ongoing organization of the Phil Morton Memorial Research Archive, gathered an impressive list of international new media artists who remixed the work of pioneering video artist Phil Morton. Included in the screening was Nick Briz‘s brilliant re[mix/make] of Morton’s 1976 video General Motors, reinterpreted into a critique of Apple computers. Weaving together phone conversations with Apple customer service reps, interviews with and a/v works by new media artists, digitally processed rants to the camera channeling Phil Morton (all powerfully juxtaposed with footage of a young Steve Jobs), the video exists as part critique of Apple’s restrictive interfaces and use of planned obsolescence, part documentary of the dirty new media scene, and part theoretical essay on information and technological openness.
Kim Asendorf, Nick Briz, jonCates, Kevin Carey, Bill Etra by Anton Marini, Emilio Gomariz, JODI, Nick Kegeyan, Alex Myers, Phil Morton, Rosa Menkman, A Bill Miller, Brenna Murphy, no_carrier, noteNdo, Julian Oliver, Bryan Peterson, Sabrina Ratté, jon.satrom, Rick Silva, Yoshi Sodeoka, Miyö Van Stenis
Genealogy is the study of lines of descent and origin; the development of families and the tracing of their lineages and history. (glitch) Art however, does not exist as a linear history or as some kind of glitch continuum. Following Foucault, the aim of a genealogy here is not to analyse a subjects history from a singular perspective or to try to form a narrative where one event impacts on the next, but to recognise the complexities and processes of its many affiliated histories.
(glitch) Art does not follow this traditional forking family tree-form. Rather there are many, parallel, interconnected non-linear, fragmented and overlapping histories which impact each other in many directions. This (glitch) genealogy does not focus on Glitch Art from as singular viewpoint, nor does it attempt to give some all encompassing overview. The exhibition instead focuses on the different threads that interconnect generations of the different communities of visual (glitch) artists and their working methods, conceptual themes and problematics.
(glitch) Genealogies fragments Glitch history into multiple (historical) categories, such as ’NES-Aesthetics’, ‘Enigmatic realities’, ‘GUI, Politics and Prose’, ‘psychedelia and the new psychedelia’ and ‘discontinuous systematicities’,
In discussing the issue of Glitch genealogies our aim is not to create a historical review or (re)create a ‘total’ archive or inclusive overview, we look at these genealogies with the aim of understanding Glitch Art in the present.
Curated by Kim Asendorf, Daniel Franke, John McKiernan and Rosa Menkman ________________________
LEAP Lab for Electronic Arts and Performance (Berlin Carré 1. Stock) Karl-Liebknecht-Str. 13 10178 Berlin
this is a video/audio remix I did of “Colorful Colorado (1974)” by video pioneer Phil Morton.
Made for REMIX-IT-RIGHT: Rediscoveries in the Phil Morton Archive, Conversations at the Edge, School of the Art Institute of Chicago’s Department of Film Video and New Media, commissioned by Jon Cates.
Okay, let me say right from the get-go that I’m not totally sure what this thing by artist/musician Yung Pharaoh really is. It’s made in the Unity 3d Game Development Engine and is a total mind-blower, and it has several things going against it. The website link has pretty much no info/background. You can only press the “up” button in the game (which moves the bus forward). And it’s a 130MEGABYTE download. That said, I’m glad I downloaded and experienced driving a bus on a road of doom into the abyss with a debilitating hypnagogic psychedelic sound background and mesmerizing shifting landscape. If not a game exactly, it’s definitely an experience. If you’re a glutton for confusion and visual pleasure, hit the link. P/U/N/K/ A/R/C/A/D/E/. -lt
"an open letter to Apple and experimental prosumer manifesto on the issues of planned obsolescence, upgrade culture, technological self-reliance, control and copying. A [re]mix/make of Phil Morton’s 1976 video tape ‘General Motors’, in which contemporary Chicago [dirty] new media artists explain their love&&hate relationship with the ‘default art computer’."