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Jon Cates
A moment stolen (ƑɌØM) ɱƴ/</\/\/Σ\/\/\/\/\/\/6-H̶ØÜɌ-
Jon Cates
A moment stolen (ƑɌØM) ɱƴ/</\/\/Σ\/\/\/\/\/\/6-H̶ØÜɌ-
Sara Ludy
2014
Dream House is a virtual architecture inspired by lucid dreams and sacred spaces.
Anna Ialeggio
2015
3-part series, thick with intrigue, slathered with doubt, reupholstered with regret, exploring the onward progression of a Cactus.
Oct. 20: Cactus/Pickle At Home, 03:34
Oct. 21: It Started before, 03:44
Oct. 22-23: Retirement Options, 01:03
Sara Condo
“Control is a video shot through the lens with the idea that society is moving deeper into a digital age. I collected footage of various urban landscapes in major U.S. cities and processed them through a visual programming language. The light in the video is generated through a filter which reduces the light into color pixels. The light pixels are then filtered through a program which generates the sound. Therefore, you hear what you see. Control aims to make the viewer present in the moment yet also hopes to hypnotize them under mass media’s spell.” – SC
Nicole Ginelli
sound by Ando
2015
05:35
After Dark is an animated exploration of childhood computer memories, encapsulating the spirit and ephemera of early 90s software and game development. After Dark takes its’ name and primary inspiration from the company that developed the popular flying toasters screensaver in 1992.
Claire Jervert
Add to Cart uses the icon of a shopping cart as it appears on the “add to cart” button seen on retail sites throughout the Internet. This icon has become a universal symbol of “the purchase.” Here, the icon takes on a panoply of stock effects used in electronic billboard advertising–bright, shifting colors; pulsating lights; jittery, hyperkinetic animation effects. The forms of advertising appear, but entirely emptied of content.
Mitch Oliver
Strange phenomena ignite. Terror magnitude has arrived; its mission: fate and unimaginable circumstances.
This project is an extrapolation of the alien noise generator that signaled down to Earth. Keeping with the theory of the movie, random noise condenses down upon itself and disrupts all communications. A circuit-bent LaserDisc player generated images from select scenes of the film, which were further processed with analog feedback loops.
Alfredo Salazar-Caro
Triptych AKA Miami Booty Bass is a study of portraiture translated with 21st century tools. Using Sagrada Familia con ángel músico, Santa Catalina de Alejandría, Santa Bárbara, (1510–1520) from the anonymous painter, simply known as Master of Frankfurt, Miami Booty Bass re-examines the composition and affect of the masterpiece. Using 3D modeling softwares and motion capture and images of churches and drones, Miami Booty Bass adds a new footnote to a millennium old conversation.
Rosa Menkman
02:00
2015
Single channel video released as part of the institutions of Resolution Discuputes [iRD]
hardware used: nova drone by Casper Electronics w/ custom patching
# X
# ∑ X ∑
Between a masonic pigpen and DCT
Dear DCT
You may call me an archaic old quiff
But I still believe that nothing has more aura than the invisible
So here I am, nostalgic for the secrecy and non-seeing
With my biggest fear my expiration date: when they would understand my alliances,
and my cycle over groom waters
becomes encyclopaedic
You, my dear DCT are not nice to me
Why do you mock my quest for radical freedom?
Dear Masonic Pigpen
it is a hard question: how not to be visible.
Does it mean not to reflect
or not to emit a signal?
It seems to you it just means that
She cannot own the signs.
No cypher, encryption or any form of secrecy is permanent
As the once radical enigma fell through a dumb ìhelloî
We are all bound to become informed materials
Products of semiotic de/territorialization
Progressively enriched by information.
I celebrate obfuscation
Inside a liminal space build on RLE and err
The conditions becoming readable to the OCR are flippant
[[But]]
You do not need to be a decommissioned Ourobouros
Because every time a new way of seeing is constructed,
A new prehistory will be generated —
And then we are in freespace again