|post crash feb 11th 2005 london|
|xxxxx substance and software
xxxxx final revelations for a holographic binding OS [VALIS]
xxxxx melancholia [auto] destruction and fascism
xxxxx supreme abstraction + machinic representation
xxxxx the computational revolution in art
xxxxx contemporary monadology
xxxxx the executable's song
crash the game of life and los alamos trinity site
xxxxx part of the node.l season|
xxxxx ap, Erich Berger, Alexei Blinov, Ilze Black, Andy Bolus, Shu Lea Cheang, Florian Cramer, Yves Degoyon, Aaron Dilloway, Valie Djordjevic, Kevin Drumm, Leif Elggren, Farmers Manual, Takeshi Fumimoto, Olga Goriunova, Graham Harwood, Russell Haswell, Florian Hecker, Stewart Home, Martin Howse, Karl Heinz Jeron, Jason Kahn, Toshio Kajiwara, Jonathan Kemp, David Larcher, Bruno Marchal, Aymeric Mansoux, Armin Medosch, Joachim Montessuiss, Phill Niblock, Karl Pribram, Pure, Otto Roessler, Adriana Sa, socialfiction.org, Eva Verhoeven, John Wiese
0] xxxxx/PLENUM March 25/26
1] xxxxx at ICA March 24
2] xxxxx23 at Limehouse Town Hall Boxing Club March 23
3] xxxxx on a wire at SPACE March 22
4] xxxxx crystalpunk workshop at studio 22 March 22
5] holographic xxxxx at SPACE March 20
6] xxxxx A la recherche du temps perdu / In Search Of Lost Time at SPACE March 20
7] ap, Mongrel and friends at the JelliedEel MediaShed, Southend March 18
8] From Ripper to Stripper. A Psychogeographical walk around the City and East End with Stewart Home March 16
0] xxxxx/PLENUM at Limehouse Town Hall Boxing Club London March 25 7pm to 7am. Admission by a piece of raw (meat, fish, veggie ++++++++++).
Totally expanded software exercise bike supreme workout.
Call for remote and local participation of Pders and all speculative coders no/any SC3, OSC (bitte RSVP) with five software patches or modules being all extensible, expandable, open to any further interpretation. All code strategies, such as the neural, audience simulation, timeslicing, and rabbit holing welcome.
- A plenary meeting session in 12 hours, 5 acts , 2 interludes.
- Five (expanded software acts)
a KOP + xxxxx collaboration
in association with Open Congress and Boxing Club
With an aim at developing a working module for agenda setting and self-organization, PLENUM further explores the tension between the individual and the group voice, the human material and machine factor, the coming together and the falling apart, ultimately, the potential escalation of arguments leading to the (un)avoidable crash of self-made social units. Hopefully, a final walk out to River Thames at sunrise would revive the drained codes and souls.
Totally Expanded Software Exercise Bike Supreme Work Out
Five (expanded?) software acts
Software is concerned with an interface which operates in two directions - from the realm of speculative or expanded software (aka. the social) to the reduced yet equally effective realm of codified software and (as output, as interference, as noise) the entry of executed results back. A repetitive return trip. A two way street.
The code here is concerned with that which can be exchanged (or mapped over) on this interface. On the machine side that which is knowable for the patch - time, sound as data (amplitude and thus frequency which then opens up to statistical analysis across various domains), and, as we will have 8 microphones distributed in the room, space. Simulation, and code herrings push things further.
On the other side, the human, and within a narrow context the meta, the xxxxx/PLENUM experiment attempts a simultaneous overmapping of both realms using operatic, logical and holographic technique dressed up in the emperor's new clothes; the expanded software script (human) translated into machine and meta-human-machine operation.
Software is substance. Software is script; a switch comprising one element of the meta-CPU of the world on a wire.
1] xxxxx at ICA London March 24 5pm to 11pm booking 020 7930 3647 entry £15,14,13
The crash that dare not speak its name; the xxxxx of atomic culture within radically externalised computation, outside the observed system. Modulation of the message begins, frequency becomes data carrier for an urgent transmission; of software and substance rendered equivalent under an expansive, digital universe as idea. Viral execution of the source code programming results in a series of events intensely orchestrated from discourse to noise, to granular demodulation, the slur into entropy. Hours of screenings, discourse and performance are possibly simulated, running highly speculative software built from multiple components and sources, varying modes of presentation and revelation heralding a computational revolution in art and science.
The code that comprises xxxxx is executed with reflexive data input from Terminalbeach (Erich Berger and Pure), machinic still life and networked cinematographix, microtonal drone god Phill Niblock, and decadent networkers Farmers Manual. A descent into noise is vocalised with supremely concrete performance from Joachim Montessuis. Numerous participants collaborate extensively within a totally unprecedented and severely overheated lineup including Russell Haswell's and Florian Hecker's UPIC diffusion session making use of an innovative sound synthesis system devised by Iannis Xenakis, Takeshi Fumimoto/dieb13's Jekyll and Hyde turntablism, and the analogue spume of Jason Kahn's interior excess.
Sensorialist Adriana Sa and NYC sound artist Toshio Kajiwara entertain entropic elision, proposing a joyful new world interface to sound making. Andy Bolus reverses the terms and trajectory of this sensor-ship with refried Dada-ist and dark Shamanistic intent. To further burn out the mix of all worlds code end, touching the very blind edge of simulation, of crash and post-crash and xxxxx, a crazed trilogy of USA and H bomb-based noise artists Kevin Drumm, Aaron Dilloway and John Wiese sear the stage with savage feedback and neuronic mayhem. crash real.
2] xxxxx23 at Limehouse Town Hall Boxing Club London march 23 11am to 9pm entry £3.33
xxxxx23 introduces a fascinating sphere of active discourse rarely encountered in the UK, engaging with the rich consequences of expanded software. Key thinkers include Otto Roessler, pioneering a view of the world as interface, provide a solid conceptual background. Code art gurus Florian Cramer and Olga Goriunova magnify contemporary unleashed software. Art prankster Stewart Home, Graham Harwood from Mongrel and various ap and socialfiction.org protagonists assess an original interface, a particular world view informed by expansive life software. Bruno Marchal, interrogating artificial intelligence concerns, further opens the terms of code to embrace consciousness and the universe, as the switched entry into noise is processed with input from exploratory artist Shu Lea Cheang [PLENUM insertion with Ilze Black and Armin Medosch]. Spectacular interruptions from renowned mystical sound artist Leif Elggren and Yves Degoyon's self-destructive commandline further a data driven collision of theory and practice.
Shu Lea Cheang
3] xxxxx on a wire at SPACE 22nd March 8pm to 11pm entry free
#N canvas 0 0 323 172 10; #X text 202 123; #X msg 120 31 node.l ->; #X obj 175 139 print; #X msg 279 153 world_on_a_wire ->; #X msg 222 108 ap ->; #X msg 167 104 pd ->; #X msg 148 82 osc ->; #X msg 126 55 xxxxx ->; #X connect 1 0 2 0; #X connect 3 0 2 0; #X connect 4 0 2 0; #X connect 5 0 2 0; #X connect 6 0 2 0; #X connect 7 0 2 0;open call for no fee/free play OSC/Pd/ap on a wire participants for collaborative open air performance Mare Street 22nd March
welt am draht projection
SPACE, The Triangle, 129-131 Mare Street, E8 3RH London
RSVP/submit protocols/working plans to firstname.lastname@example.org
confirmed participants: ap, Alejo Duque, Yves Degoyon, Alejandra Perez Nuñez
4] xxxxx crystalpunk workshop at studio 22, 38-40 Upper Clapton Road E5 8BQ 22nd March 12pm to 6pm entry free
Crystalpunk is a rally cry for people to come together and start making all sorts of weird things, things slightly of kilter that need a crystalpunk to have its delights appreciated, things that are radical but hurt nobody.
Other people, professionals, are making things too. In art, in architecture, in computer science, in biology, crystalpunks want to share in their excitement, often feeling it more than they do, but understanding it through reverie not formalism.
At socialfiction.org we have been thinking about gargoyle computation [rococo automated search & gargoylisation not optimisation], software as a crystal ball [cellular automata as discrete little worlds that hide complex operations creating universe to be discovered by its users], pattern formation [put your fingers on your closed eyelids & press gently], non conventional computing [molecule based & sea based], unintentional intelligence [the wildtype adaptivism of BacterioPoetics]. Somewhere in the middle we started writing a chain-reaction automaton: on the GUI a Grid, inside it rectangles are activated to rotate one step, activating others to rotate one step of 4 on close contact. The crystalpunk can interact with it: creating patterns, signalling it and monitoring its output. But the rules that guide its movement are mind boggling gargoyly. Can it Compute? Can it loop forever? These and many other questions are to be explored during this workshop.
The script we have made is a sloppy bit of Python code and in this workshop we invite you to make thing [fractalline patterns, logic gates, literature, self-destructing embroidery forms] on top of it.
Please bring your computer if you have one.
The script can be downloaded in the week of the workshop from: http://socialfiction.org/gargoyle.html
Download Python: http://www.python.org
produced by http://socialfiction.org
map to location: studio22 buses: 106,253,38,48,55,S3
5] holographic xxxxx at SPACE 20th March 7.30pm to 10.30pm entry free
Neurophysiologist Karl Pribram investigates the Spectral Holographic Domain: in Brain, Navigation and the Universe.
Karl Pribram is the leading exponent of a holonomic theory of the human brain backed up by hefty experimental research. All parts contain the story of the whole, with the term holonomic referring to a dynamic or changing hologram.
A hologram is a total writing of a scene, a completely realistic three-dimensional representation. Every part of the hologram contains information about the whole; cut up a hologram into small pieces and the original image remains visible, all of the information is intact; the window on the world is solely reduced.
Holography presents a transformation from the spatial into the frequency domain such as is enacted by the Fourier transform formula; holocaustic mathematics enabled by Leibniz' prime transformational tool, the discretising integral of Gravity's Rainbow.
In the reverse direction, Light is in the frequency or holographic domain. An inverse Fourier transform is enacted by a lens which can focus a beam of light, converting the frequency nature of the information into a spatial image:
Remove the converging lens in a slide projector that forms the image. Place a slide in the projector and project the light onto a screen. No image will form. Technically, the light incident on the screen is in a holographic form. Each point on the screen is receiving information from every point from the slide. If a converging lens is placed at a location between the screen and the slide projector an image can be formed on the screen. The lens can now be moved to new locations in a plane cutting through the light path to the screen and in each case a complete image is formed (Taylor, 1978).
The consequences of such domain transforms within the context of consciousness are extreme. xxxxx pairs Karl Pribram's lecture with a rare screening of Rainer Werner Fassbinder's sci-fi magnum opus Welt am Draht.
A world where one is able to make projections of people with a computer. And of course that leads to the uncertainty of whether someone is himself a projection, since in this virtual world the projections resemble reality. Perhaps another larger world made us a virtual one? In this sense it deals with an old philosophical model, which here takes on a certain horror (RWF)
Transformations enacted by both the lens of Pribram and of Fassbinder open up the total consequences of the universe as hologram under a rereading of the instantaneous communication of totally distant subatomic particles. Holographic theory presents a radical view of reality which well connects with monadology and computation, with a stress on the framing of perception, the question of which abstraction or domain we inter information within.
6] xxxxx A la recherche du temps perdu / In Search Of Lost Time SPACE 20th March 12pm to 6pm entry free
- taken literally
- presented using information technology.
A performance by Karl Heinz Jeron and Valie Djordjevic
For a long time I would to go to bed early. Sometimes, the candle barely out, my eyes closed so quickly that I did not have the time to tell myself: I'm falling asleep. Marcel Proust, In Search of Lost Time
The performance A la recherche du temps perdu takes the code literally. We are reading the machine-code version of Marcel Proust's novel. During the eight hours of a working day the human performers are playing computer. From the analog to the digital and back again: The sequence of events of the performance is described in this manual. Starting from the ASCII-Version of Marcel Proust's novel A la recherche du temps perdu it is then re-coded into its underlying zeros and ones and then read by two performers alternately (one is reading the zeros, the other one the ones). The third person is CPU (the Central Processing Unit): She interprets the zeros and ones with the aid of an ASCII allocation table, cuts out the corresponding letter from the prepared sheets and turns it over to Display, who sticks it onto the wall panel. After eight hours of performance about 250 characters can be processed. During the act of reading, interpreting and presenting the work of art emerges, posing questions about the nature of the digital and the analogue, of work and art, time and beauty.
False (Zero): James Smith
True (One): Valie Djordjevic
CPU: Karl Heinz Jeron
Display: Elvina Flower
7] ap, Mongrel and friends at the JelliedEel MediaShed, Southend March 18th 12pm to 11pm entry free
Free software isn't just about open applications, it's about exposed and extruded code, and a modular, highly constructivist approach to data; environmental code, physical code, tangible code. Code is data. Data is code. Code bends data. Noise to signal ratio over signal to noise.
As part of the xxxxx series of exploratory events ap, Mongrel and friends present an experimental one day workshop and evening performance event examining varying approaches to data bending and free software noise.
ap, forcing the extension of free software exposure in the wilderness of computational destruction, will examine base approaches to commandline tools such as cat, split and dd in relation to raw OS nature. After a brief introduction to their work, including abstract computation in the Californian desert, workshop participants can explore virtual machine tools created by ap including ap0202 and self. Piping data, shifting data, bending data means connectivity as we explore connections in the Unix world and beyond, introducing the highly versatile Pd (Pure Data) environment.
Code and network artist and co-founder of Goto10, Aymeric Mansoux picks up the Pd ball and runs with it, introducing a very physical dimension which will be further explored in his evening performance; data needs a real carrier, in this instance voltage. Voltage is readily transformed into sound by way of amplifier and loudspeaker. The concrete relation is clear, simple and beautiful. Noise.
ap, Aymeric, noise luminaries and physical coders from the UK free software art scene lead the workshop into an evening of free noise. Again the physical, again the real. The (new) medium surely isn't the message. Abhorrent concrete noise cancels out the signal to achieve only exposed systematics. Crash JelliedEel.
8] From Ripper to Stripper. A Psychogeographical walk around the City and East End. Meet Aldgate tube station March 16th 6pm entry free
Stewart Home remaps the 1960s London 'nude murders' attributed to the uncaught Jack The Stripper, onto an earlier series of sex killings of prostitutes, the Victorian Jack The Ripper murders. Since the locations at which the bodies were found (and these are not in all instances the actual murder sites) have change dramatically since the killings, it seems reasonable to treat the sites of one series of murders as belonging to the other. This is about historical resonance and the difficulties of physically revisiting the past, rather than historical accuracy.
map to location:Aldgate tube