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- Select: - Exhibition - Performances - Lectures - Workshops - SAT Oct 6th - 8pm – /’fu:bar/ 2018 EXPO & FESTIVAL OPENING @ Gallery Siva [AKC Medika, Pierottijeva 11, Zagreb] - 8pm – Sabato Visconti [US] – #Glitchbooth [interactive installation @ Siva] - 9pm – Lovely Insomnia [HU] – Live Set/DJ Set [performance @ Siva] - SUN Oct 7th - 6pm-10pm – Exhibition @ Siva - 6pm – Ramiro Polla [BE] – FFglitch [lecture @ Siva] - 8pm-10pm – Mark Klink aka srcXor [US] – 3d glitching [teleworkshop @ hacklab01] - MON Oct 8th - 6pm-10pm – Exhibition @ Siva - 2pm-5pm – Holographic_thought_process [FR] – Video Dirty Mixer [workshop @ hacklab01] - 6pm – Nikša Gligo [HR] – Can glitch music be music at all?[lecture @ Siva] - 6pm - Hyperspeed Hallucinations presentation @ hacklab01 - 8pm – Magno Caliman [NL] – screenBashing [performance @ Siva] - TUE Oct 9th - 6pm-10pm – Exhibition @ Siva - 2pm – Random Pixel Order [FR] – The Archive [open studio @ Siva] - 6pm – Ingeborg Fülepp [HR] – The history of artistic usage of errors in film, video and digital techniques [lecture @ Siva] - 8pm – FRGMNT [DE] – SSB – Sequenced Noise Beauty [performance @ Siva] - WED Oct 10th - 6pm-10pm – Exhibition @ Siva - 2pm-5pm – FRGMNT [DE] – SNU noise machine [workshop @ hacklab01] - 6pm – Magno Caliman [NL] – Error making and “not-knowing”: some particularities of the relation between artists and programming languages [lecture @ Siva] - 8pm – Paul Vivien [FR] – 99%[performance @ Siva] - 8pm – Kaspar Ravel [FR] – The Cloud Factory [performance @ Siva] - THU Oct 11th - 6pm-10pm – Exhibition @ Siva - 6pm – ROUND TABLE @ Siva - 8pm – Nada Hasan [EG] – Experimental Desires [safe passage] [performance @ Siva] - FRI Oct 12th - 6pm-10pm – Exhibition @ Siva - 6pm – GUIDED EXHIBITION TOUR @ Siva - 8pm – Tabache & Lady oN [IT] – cHroma flux [performance @ Siva] - 9pm – “Ondes noires” screening & FESTIVAL CLOSING @ Siva SAT Oct 6th – 8pm [interactive installation @ Siva] #Glitchbooth> is a live interactive video installation where participants have their best selves captured in 1-to-2 minute video portraits. The video portraits are glitched using a corrupted DivX encoder and processed for live screening so that participants can see their glitch selves. Modeled after the photo booths found in weddings and events, #Glitchbooth considers “Selfie Culture” as a social practice that is conditioned by the structures of digital technologies and distribution channels. Sabato Visconti — a Brazilian-born photographer and new media artist based in Western Massachusetts. He was born in São Paulo, grew up in Miami, and studied Political Science at Amherst College. Sabato’s work seeks to reconfigure traditional understandings of photography for the post-internet era, where photographic and cinematic practices become absorbed by digital processes, hybridized media, online networks, and machine intelligence. His work captures the subject in the face of ecological turbulence driven by the dysfunctions of vast impersonal systems. Sabato began experimenting with glitch processes in 2011 with the help of a defective memory card that randomly wrote zeroes on JPEG files. Since then, his work with glitch and digital media has been awarded the ArtSlant Prize IX and has been shown in places like Tate Britain, ICA Boston, SPRING/BREAK Art Show in New York City, LACDA, the FILE Festival in São Paulo, as well as galleries throughout the world. His work has also been published in TIME Magazine, WIRED, The New York Times, AI-AP’s “Latin American Fotografia 4” Anthology, and in Photographer’s Forum annual “Best of Photography” books for eight straight years. sabatobox.com SAT Oct 6th – 9pm – Live Set/DJ Set [performance @ Siva] Gábor Hufnágel — a Hungarian electronic music composer/producer. He’s currently studying electronic music and digital arts at University of Pécs. He describes his music as a fusion of polyrhythms, rich textures and field-recordings. His process often involves algorithmic techniques and aleatoric elements. During his studies he was influenced by the works of the 20th century electroacoustic composers but he always felt the contemporary experimental music scene closer to him. His upcoming debut album (from which he will play a live set at /’fu:bar/) would like to explore the relation of these two and contribute to abolish the boundaries, elitism and controversy which still surrounds these topics. His works are also heavily emotion-centered, dynamic in terms of tempo as he also tries to unfold the possibilities of contrasts in music. SUN Oct 7th – 6pm – [lecture @ Siva] FFglitch is a precision multimedia editing tool based on FFmpeg. When you glitch a file using a hex editor, it’s like getting a tattoo with a radioactive axe. You might get some cool results, but you have very high chances of dying from blunt trauma or some cancerous genetic mutation. FFglitch, on the other hand, is more like genetic engineering. You manipulate your genes to naturally grow your tattoo. FFglitch produces valid bitstream, so Facebook or YouTube won’t choke on your files. It is so precise it can barely be considered glitching at all… Ramiro Polla — likes hacking things. He was an FFmpeg developer for 5 years, but now he got better… ffglitch.org SUN Oct 7th – 8pm-10pm – [teleworkshop @ hacklab01] Demonstrating methods for glitching .obj files, using text editors and spreadsheets. Mark will also discuss the standard triangle and edgeloop patterns that are used to form most 3d models and then demonstrate remeshing techniques which can ultimately produce more interesting glitches. If time is available, we’ll discuss other 3d file formats and ways they might be glitched. Mark Klink — has been and done many things: swept floors, worked in a factory, been an athlete, a minor government official, a lifeguard, a computer programmer, and a traditional print maker. For twenty years he taught children and other educators how to use computers. But the thing he likes best (beside family) is making curious pictures. srcxor.org MON Oct 8th – 2pm-5pm – [workshop @ hacklab01] Building of a video dirty mixer, which “mixes” two analog video sources the bad way, resulting in a glitched output. A good case study to talk about composite sync signal and how messing with it can yield wonderful results. Bastien Lavaud — imagines and creates electronics devices for arts. Audio, video and DIY enthusiast, he shares his creations on his website by providing information on how to build them, and makes demonstration of it in the realisation of video clips/VJing under the alias Holographic Thought Process. syntonie.fr MON Oct 8th – 6pm – [lecture @ Siva] The answer to this question depends on what we consider music. Looking back in history we find the expressions like musica mundana, musica humana, and musica instrumentalis. But the meaning of musica there is equal to harmonia, i.e. accord and has nothing to do with the narrower meaning of harmony in the tonal theories. My aim here is to point out that glitch music belongs to all these kinds of music which do not imply traditional, constant determinants of music as art. Glitch music belongs to the same group as “furniture music” (Erik Satie), “paper music” (Josef A. Riedl), “noise music” (Italian futurists), “prose music”/”music to read” (Dieter Schnebel), “eye music” (Luciano Berio), “son organisé” (Edgard Varèse), “organization of sounds” (John Cage), “sound art”… If we want to avoid “sound art” as something that doesn’t belong to music in the most general sense, then we are obliged to think about music in plural (“musics”). Glitch music would then be just one of them with its own theory, aesthetics and meaning. Nikša Gligo — born in Split in 1946. Croatian musicologist. He graduated in English and comparative literature from Zagreb University (1969) and in musicology from Ljubljana University (1973). He later studied with Koraljka Kos at Zagreb University (MA 1981) and with Andrej Rijavec at Ljubljana University, gaining the PhD in 1984 with a dissertation on problems of new music. He was awarded scholarships to study at the universities of Cologne, Berlin (with Carl Dahlhaus and Rudolf Stephan) and Freiburg (with Hans Heinrich Eggebrecht). He has taught at the Zagreb Academy of Music since 1986. He is the ordinary member of the Croatian Academy of Arts and Sciences and of Academia Europaea in London. Gligo is concerned with the aesthetics, semiotics and terminology of 20th-century music and the use of computers in musicology. His project on the standardization of 20th-century Croatian music terminology resulted in his book Pojmovni vodič kroz glazbu 20. stoljeća, which is relevant to both musicology and linguistics, and for which he received the Croatian National Award in the Humanities. MON Oct 8th – 8pm – [performance @ Siva] screenBashing is a live coding piece, where audio and visual materials are programmed in real time during its performance. It utilises SuperCollider (a sound oriented programming language) for it’s sound components, and C (a general purpose programming language) for it’s visual elements. By using the very basic functionality, present in pretty much all programming languages, of printing characters on the screen back to the user, the visuals are created by printing characters such as backslashes and underlines in rapid succession, and at the same time freezing the whole system several times per second, creating the illusion of animated motion; something neither C nor the printing function were originally intended to do. After a certain threshold, the system becomes erratic, up to a point where it is no longer possible neither to gain control, nor to foresee the end of the performance, which happens at the onset of the machine processor capability, when it indubitably fails and crashes, or there is no alternative but to force shut both the visual and audio generators. The current version of the performance, to be played at fu:bar, adds a new layer of error, with the use of a laptop not connected to a power outlet. The amount of charge left in the battery at the beginning of the performance is chosen in order to determine the duration of the piece, which ends with the involuntary shut down of the machine. Magno Caliman — originally trained as a classical composer at the conservatory, but with a background as a hardcore / death metal guitarist, now presents himself as a sound artist and multimedia performer, with a focus on the intersection between art and technology. In particular, two specific practices have guided almost entirely the processes in his works for the last few years: the construction, modification and manipulation of electronic circuits; and the embracing of programming languages as places for poetical speculation. vimeo.com/magnocaliman TUE Oct 9th. – 2pm – [open studio @ Siva] Random Pixel Order is a project started in 2015 by Clara R/ and Guillaume Cartis – a crossover collective between IT and micro-edition. The project aims to bring the two closer and comprehend how they can mutually develop. Torn between glitch / dev / analog hacking on the one hand and illustrations / graphic novel / zine on the other, the collective choses to do both. The Archive is a digital art zine collection, every publication with its little background story, a particular technique used (sometimes multiple). The collection is open to digital art in general and holds a multitude of techniques – glitch (sonification, 3D glitches, pixel sorting,…), creative coding, web found images, bitmap and MS Paint drawings, scanner movement, digital collage… Different print techniques are also used – some are fully digital prints, some are screenprint or riso, others mix printing techniques. The entire collection of 50 zines will be presented at /’fu:bar/ 2018. Anyone involved with the festival is invited to participate to author a new zine on the spot. Clara R/ — founded RandomPixelOrder in 2015 with Guillaume Cartis while she was an undergraduate student in mathematics and computer science in Bordeaux, France. Seeing that much code everyday and being fascinated by mathematical functions, she couldn’t keep herself from trying to apply those new knowledges to something visual and fun. She experimented on different techniques along the time, going from classic 2D glitch and datamoshing at the very beginning to generative coding and 3D glitch. During this few years, Clara has been implicated on creating projects that build the bridge between zines and computer. Today, as the collective is exploring new physical supports, Clara is opening herself to more interactive techniques as Arduino and video game making. Now she continues her master degree in graphic computer science, robotic and video game while making posters and fanzines. Guillaume Cartis — after a few self-published zines, founded RandomPixelOrder in 2015 with Clara Rigaud aiming to create a bridge between digital and zine making. Exploring different glitch art techniques, he introduced himself to 3D, video editing and film making. In 2016 he joined Disparate, an associative zine store, where he works on Bordeaux Zinefest organisation and workshops. During those years he started to get into risography, screen printing, scenography and awkward electronic music. facebook.com/randompixelorder/ TUE Oct 9th – 6pm – [lecture @ Siva] The twentieth century and the beginning of the twenty-first can be labeled as a century of media art. Not only filmmakers, but also painters, sculptors, graphic artists, architects, stage designers and many others have been experimenting with media technologies since its very beginning. This lecture will present a brief historical review of the use of media technology imperfections as an artistic expression. By using the example of Media in Motion Berlin-Zagreb GbR (Ingeborg Fülepp and Heiko Daxl, 1990 to 2012) video production, the lecture will present a multiplicity of artistic image editing approaches, which were realized by a symbiosis of analogue film, video and digital errors in specific video works. At the end of the lecture, visitors will be able to see a selection of the best works of Media in Motion art production. Ingeborg Fülepp — Born in Zagreb, lives and works in Rijeka, Zagreb and Berlin. Studied film editing (at the Academy for Theatre, Film and Television in Zagreb; today Academy of Dramatic Art – ADU) and post graduate studies, film, video and interactive media at Harvard University (Ed. M) and at Massachusetts Institute of Technology, The Media Lab. Taught film editing at the Academy of Dramatic Art (ADU), Zagreb in 1978 – 1993. Lectures in USA, Great Britain, Netherlands, Austria and Germany since 1983, as well as at the New Media Department at the Academy of Applied Arts (APURI, Rijeka) since 2013, where she founded, and leads the Center for Innovative Media CIM since 2017. She’s an active participant of many international scientific gatherings, exhibitions and festivals, and participates in several EU projects as an associate or a jury member. Worked as a film and video editor on many productions. Received a multitude of scholarships and awards as an independent artist. Own artistic practice involves film, interactive multimedia projects, video art and video installations, of which some were shown in the New National Gallery in Berlin, Museum of Contemporary Art (MSU) in Zagreb, Museum of Modern and Contemporary Art (MMSU) in Rijeka, as well as in many private and national galleries around the world. As a curator, an art director and a media art event organizer – she has ran a non-profit Media in Motion GbR, Berlin-Zagreb with Heiko Daxl, and has organized numerous international exhibitions and gatherings. fuelepp.com TUE Oct 9th – 8pm – [performance @ Siva] The performance is a ~30 minutes live improvisation with advanced self made electronics. This involves the SNU (Special Noise Unit, FM-synth), sequencers, ring modulators and unique ultrasonic instruments (transmitters & “bat ears”). The main Units (SNU & sequencer I put under open license & distribute docu after the concert). Jo FRGMNT Grys — born 1963 in Essen/Germany. Studied chemistry, philosophy, mineralogy etc @ the Justus-Liebig-University of Gießen then more & more turned towards arts using scientifically influenced thinking to investigate formation of structure from noise & order, from error & law and feedback as his main artistic themes. Grys is working with video-snow, electronics, computers, body & brain. Performed with noisiV (self-made electronics and video manipulations), TOB (transmitters and self-made electronics) as FRGMNT (structured noise & DIY ultrasonics) since 2010 and 2VM (VJ team) since 2002. Grys also makes electronic installations & gives workshops since 2004. Among other festivals he has taken part in V2´s DEAF NL, Piksel NO, Pixelache FI, Art Trail IE, Dorkbot CH, CTM DE. Works as an artist & inventor of machines. In recent years he also presents his computer graphics work to the public. frgmnt.org WED Oct 10th – 2pm-5pm – [workshop @ hacklab01] In this workshop, participants will be shown how to build the SNU (Special Noise Unit), an experimental sound circuit which uses illegal states falling between 1 and 0, and drives the digital chip it uses into an in-between world of uncertainty, resulting in complexity and uncontrollable behaviour, but also a playable instrument. Bio: Jo FRGMNT Grys — born 1963 in Essen/Germany. Studied chemistry, philosophy, mineralogy etc @ the Justus-Liebig-University of Gießen then more & more turned towards arts using scientifically influenced thinking to investigate formation of structure from noise & order, from error & law and feedback as his main artistic themes. Grys is working with video-snow, electronics, computers, body & brain. Performed with noisiV (self-made electronics and video manipulations), TOB (transmitters and self-made electronics) as FRGMNT (structured noise & DIY ultrasonics) since 2010 and 2VM (VJ team) since 2002. Grys also makes electronic installations & gives workshops since 2004. Among other festivals he has taken part in V2´s DEAF NL, Piksel NO, Pixelache FI, Art Trail IE, Dorkbot CH, CTM DE. Works as an artist & inventor of machines. In recent years he also presents his computer graphics work to the public. frgmnt.org WED Oct 10th – 6pm – [lecture @ Siva] Computer programmers working in non-artistic applications and artists using programming languages to support an artistic practice might seem, at first, to be making use of the same tools (computational devices), and therefore can be thought of having similar practices. In this lecture we will draw parallels between the modes of operation of this two use cases. Specifically, we will comment on how artists are in a position not conceivable to the professional programmer: one where error making, trial-and-error, and “not knowing” some of the underling technical aspects of the practice are not only expected, but sometimes necessary in both the day-to-day experimental practice, as well as in the learning of those computational tools. Magno Caliman — originally trained as a classical composer at the conservatory, but with a background as a hardcore / death metal guitarist, now presents himself as a sound artist and multimedia performer, with a focus on the intersection between art and technology. In particular, two specific practices have guided almost entirely the processes in his works for the last few years: the construction, modification and manipulation of electronic circuits; and the embracing of programming languages as places for poetical speculation. vimeo.com/magnocaliman WED Oct 10th – 8pm – [performance @ Siva] Loading… Loading… a transfer, a life, a movie, everything needs a time to prepare itself before it’s ready, before it becomes perceptible and pleasant. And when it’s ready, hurray! We can consume it. Why do we need it to be ready? Why don’t we prefer the things which are still in progress? A premature baby, an immature fruit or the current moment of my life with the evolving cells of my body? The last percent is missing, just enough to make you feel uncomfortable about this loading which will never end, with this file and my life you will never successfully download. Paul Vivien — a new media artist who creates installations and performances. Experimenting with lights, generative custom software, video and sound, each project is an opportunity to discover a new expression way. Thanks to new technologies, he tries to make the virtual boundaries tangible, to augment the experience we could have of the real, accompanied by technology as invisible as possible. The artistic universe of Paul Vivien is hosted by a research about digital forms of life, a theme merging the notions of singularity, artificial intelligence, science fiction and nature. Based in Paris, Paul does talks and workshops at ENSAAMA, ECV and EPSAA art schools. In parallel of his solo projects, he participates to OYÉ visual art label production support, kaleidos studio art and design researches, exhibitions curation, and Omicron Persei 8 live AV. paulvivien.fr THU Oct 11th – 6pm @ Gallery Siva — on the current state of reinterpretative new media, its (role)models, changes, its influences, in regard to its artistic and technical ethos and praxis. The talk aims to discuss and contextualize diverse glitch-based critical new media (& appropriation) practices, in the company of /’fu:bar/ 2018 guest artists. THU Oct 11th – 8pm – [performance @ Siva] A performance of reading texts and verbatim poems, installations of glitched video and live audio-visuals; an onsite experiment of a woman and her alter egos as she seeks to become the super human. The piece involves the ambivalent contradictions of female/male, weak/strong and white/black as they reside within a single body navigating hostile geographies. The project will explore the emotional, mental and physical aspects of becoming the perfect human through a mind trip and a process of being exposed to an archive of the most tangible realities and feelings, desires and traumas. Nada Hasan — a Cairo based multidisciplinary artist from Southern Egypt. Her special focus is in video and media arts but her artistic practices vary between illustration, graphic design, performance, theater and storytelling. BA degree holder from faculty of Languages, Russian language and literature department and studied filmmaking at the Cairo Jesuit Cinema School by the year 2010. Since then she developed her skills in film and video art work by self teaching, exploring and experimenting new and various forms of creating moving image. Her work focuses on the emotional package of a body as a commodified being; making the struggles of bodies visible, emotions resistant to modern society persecution, while emphasizing the experience of oppression and our survival performances in functioning within privilege imbalances in connection to the quadrilogy of Race, Gender, Sexuality and Power. Her video and media art practice is curious to transcend the limitations of classical filmmaking and explore contemporary new media practices and its broad possibilities to create an alternative relation between the artist and spectator while constructing unconventional visual, image and motion driven narratives. vimeo.com/user5161708 FRI Oct 12th – 6pm @ Gallery Siva (hrvatski ~45’ | english~45’) Inquiries contact: fubar@hacklab01.org FRI Oct 12th – 8pm – [performance @ Siva] “cHroma flux” explores a process of metamorphosis in which cells of colour and sound expand in order to create new forms. Thanks to technological devices, colour pixels and acoustic music mutate and distribute themselves throughout space giving life to a “technological landscape”. The visuals are generated by live manipulation of paintings that have been transferred onto acetate. The resulting prints are positioned onto TV screens by means of feedback generated by webcams and this process triggers a series of transformations of the coloured pixels. The visual flow of colour is managed and produced thanks to an analogue video mixer. The result is a technological animation of colour as if under a microscope. It becomes a kind of digital mantra that responds to itself, reproducing and moving outwards to take over a new space. The audio has been developed from synth sources and classical music sampling. The acoustic samples have been literally deformed by digital and analogical technology, so that they reach the listener as naked sound that has been completely transformed from its original grammatical, cerebral and human nature as musical language. In “cHroma flux”, sound and image influence each other in a synaesthetic vision that has been achieved not by machinery but by the physical gesture of a performance coordinated by the performer’s reciprocal listening and looking. Tabache — starts his journey in 2004 with “Problems with my Mind”, an electro experimental punk band with influences from bands like Suicide and subsequently flow into House, Techno, IDM. Publishing two records, “Album” (2005) and “Stato di Tensione”(2007). After moving to Bologna, he started his first solo project, Tabache, specifically devoted to a live and sensorial experience, with strong influences from Techno and Ambient. His new life injected him a new flow of creativity, which brought Francesco to publish in 2015 his first solo record ‘Searching a total state’, and to found his own record label with Alberto Randi and Giovanni Ricchi, “Timeless Records”. In the same year he curated the performance and sound design for the performative theatre shows directed by Ennio Ruffolo. His natural interest in clubbing leaded him to open a new channel for the electronic music in Bologna and surroundings, with a serie of electronic events, such as “Sunday Calling” (2012 – 2014), “Futuro Dancefloor” (2015 – 2017), “Bologna Elettrica” (Electronic experimental Festival in XM24 social center, 2017, 2018) , and the new art collective “Einheit” (2017). soundcloud.com/tabache Lady_oN — operates as a videomaker and a visual artist on the national and international scene, realizing dreamlike live visuals sets, wraparound and imaginative visual scenographies invading the spaces of DJ sets, live music, installations and theatrical performances. In a constant state of research and experimentation, Lady_on’s visuals create hypnotic space-time fabrics in a cut up of images, video synthesis, found footage and feedback, contaminating the many pre-existing visuals with the possible infinites of live shooting and sonic incursions. Simultaneously, she is working on the Mediamorphose project, researching a multiplicity of visual expressions via music clips and video documenting reality.instagram.com/mediamorphose/ FRI Oct 12th – 9pm @ Gallery Siva “Ondes noires” / “Dark Waves”, Documentary (21’14’’) In an ultraconnected society where waves have almost invaded every space, three electromagnetic intolerant people bear witness of survival in a world that seems more and more inacessible to them. The staging explores the idea of a deceleration in time. A necessary condition for the perception of a reality that extends beyond the visible. Written & Directed by Ismaël Joffroy Chandoutis; Cinematography by Nikos Appelquist Dalton; Production : Le Fresnoy – Studio national des arts contemporains. // Screens and Prints Aaron Juarez [US] Adrian Cain [US] Affar Oppip [BR] Allison Tanenhaus [US] Bartek Pilarczyk [CA / PL] Creation by Destruction [US] Cyberart By Justin [US] Digital Ruins [GR] Earnest Raw [AU] elle thorkveld [US] Ivana Miljkovic [RS] Ivana Miolin Barić [HR] John Bumstead [US] jrdsctt [US] Magdalena [GB] maja kalogera [HR] Mark Klink [US] Mila Gvardiol [RS] Mirna Udovčić [HR] Neal Peterson [US] Riitta Oittinen [BE / FI] Robert Hruska [SK] Sabato Visconti [US] satej soman [US] Sebastian Gatz [DK] sepo [BR] Skinny Bunny [RO] tajny_projekt [PL] Tchidu [BR] Twin Pixel [IT] vivid [FR] windowzine [BR] Yuri Zalevski [UA] // Interactive Dario Zubovic [HR] Jim Andrews [CA] jonCates [US] Kolmogorov Toolbox [HU] Magdalena Zoledz + Robert Kowalski [GB] Sabato Visconti [US] Timo Kahlen [DE] // Narrative Gelido [AU] Jessica Evans [GB] Random Pixel Order [FR] // Time-based Baron Lanteigne + Derek Piotr [CA] Christoph Kerschner [AT] DAJAJDE [HR] Daniela Olejnykov (a.k.a paranthre, velvet_bites_) [SK] Daniela Takeva, Nikolina Nedialkova, Felix Ermacora [BG / DE] Demet Karapinar [TR] DF0:BAD [AU] Digital Ruins [GR] Dom Barra _ AlteredData [IT] elle thorkveld [US] Gochevas [TR] Ismaël Joffroy Chandoutis [FR] Kacper Mutke [PL] Lívia Zafanelli [BR] Lou Morlier [FR] Marija Lučić [HR] Meena Khalili [US] Nickk Hertzog [AU] Outernet Explorer [PL] Paloma Schnitzer & Pablo Denegri [DE] Paul Beaudoin [EE] Petra Drevenšek [SI / HR] Philippe Girardet [FR] Qin Tan [US] [sic][redacted] | alan page [US] Timothy Nohe [US] vivid [FR] // Lectures And Workshops Holographic_thought_process [FR] Ingeborg Fülepp [HR] Jo FRGMNT Grys [DE] Magno Caliman [NL] Mark Klink (aka srcXor) [US] Nikša Gligo [HR] Ramiro Polla [BE] Random Pixel Order [FR] // Performances Jo FRGMNT Grys [DE] Lovely Insomnia [HU] Magno Caliman [NL] Nada Hasan [EG] Paul Vivien [FR] Tabache & Lady oN [IT]
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- Odabir: - Izložba - Performansi - Predavanja - Radionice - 20:00 – /’fu:bar/ 2018 EXPO & OTVORENJE IZLOŽBE I FESTIVALA @ Siva Galerija [AKC Medika, Pierottijeva 11, Zagreb] - 20:00 – Sabato Visconti [US] – #Glitchbooth [interaktivna instalacija @ Siva] - 21:00 – Lovely Insomnia [HU] – Live Set/DJ Set [performans @ Siva] - 18:00-22:00 – Izložba @ Siva - 18:00 – Ramiro Polla [BE] – FFglitch [predavanje @ Siva] - 20:00-22:00 – Mark Klink aka srcXor [US] – 3d glitching [teleradionica @ hacklab01] - 18:00-22:00 – Izložba @ Siva - 14:00-17:00 – Holographic_thought_process [FR] – Video Dirty Mixer [radionica @ hacklab01] Nikša Gligo [HR] – Can glitch music be music at all?[predavanje @ Siva] - 18:00 – Hyperspeed Hallucinations [IT] prezentacija @ Siva] - 20:00 – Magno Caliman [NL] – screenBashing [performans @ Siva] - 18:00-22:00 – Izložba @ Siva - 14:00 – Random Pixel Order [FR] – The Archive [otvoreni studio @ Siva] - 18:00 – Ingeborg Fülepp [HR] – The history of artistic usage of errors in film, video and digital techniques [predavanje @ Siva] - 20:00 – FRGMNT [DE] – SSB – Sequenced Noise Beauty [performans @ Siva] - 18:00-22:00 – Izložba @ Siva - 14:00-17:00 – FRGMNT [DE] – SNU noise machine [radionica @ hacklab01] - 18:00 – Magno Caliman [NL] – Error making and “not-knowing”: some particularities of the relation between artists and programming languages [predavanje @ Siva] Paul Vivien [FR] – 99% [performans @ Siva] - 20:00 – Kaspar Ravel [FR] – The Cloud Factory [performans @ Siva] - 18:00-22:00 – Izložba @ Siva - 18:00 – OKRUGLI STOL @ Siva - 20:00 – Nada Hasan [EG] – Experimental Desires [safe passage] [performans @ Siva] - 18:00-22:00 – Izložba @ Siva - 18:00 – VODSTVO KROZ IZLOŽBU @ Siva - 20:00 – Tabache & Lady oN [IT] – cHroma flux [performans @ Siva] - 21:00 – Prikazivanje filma "Ondes noires" i ZATVARANJE FESTIVALA @ Siva – 20:00 – [interaktivna instalacija @ Siva] #Glitchbooth je interaktivna video instalacija u kojoj sudionici/e snimaju 1-2 minutne video autoportrete. Video portreti se zatim glitchaju koristeći korumpirani DivX enkoder, te su procesuirani za prikazivanje kako bi sudionici mogli vidjeti sebe u glitchanom izdanju. Po uzoru na foto kabine kakve možemo pronaći na društvenim događanjima, #Glitchbooth razmatra "Selfie kulturu" kao društvenu praksu uvjetovanu strukturama digitalne tehnologije i kanalima distribucije. Sabato Visconti — rođen u Brazilu; fotograf i novomedijski umjetnik, živi i radi u zapadnom Massachusettsu. Rodio se u São Paulu, odrastao u Miamiju i studirao političke znanosti pri Amherst College. Sabatov rad teži rekonfiguriranju tradicionalnog razumjevanja fotografije post-internetske ere, u kojem fotografske i kinematografske prakse apsorbiraju digitalni procesi, hibridni mediji, online mreže i mašinska inteligencija. Njegov rad zabilježava subjekte, u jeku ekoloških turbulencija izazvanih depersonaliziranim sustavima. Počinje eksperimentirati s glitch procesima 2011. godine pomoću loše memorijske kartice koja je nasumično ispisivala nule u JPEG datoteke. Njegov rad s glitchem i digitalnim medijima nagrađen je ArtSlant Prize IX, a izlagao je na mjestima kao što su Tate Britain, ICA Boston, SPRING/BREAK Art Show u New York City, LACDA, FILE Festival u São Paulu, kao i u galerijama diljem svijeta. Rad mu je objavljen i u časopisu TIME, u WIREDu, New York Timesu, AI-APovoj antologiji "Latin American Fotografia 4", te osam uzastopnih godina u Photographer’s Forum godišnjoj publikaciji "Best of Photography". sabatobox.com – 21:00 – Live Set/DJ Set [performans @ Siva] Gábor Hufnágel — mađarski skladatelj i glazbeni producent. Trenutno studira elektronsku glazbu i digitalnu umjetnost na sveučilištu u Pečuhu. Svoju glazbu opisuje kao fuziju poliritama, bogatih tekstura i terenskih snimaka. U kreativnom procesu često koristi algoritamske tehnike i aleatoričke elemente. Tijekom studija je pod velikim utjecajem elektroakustičkih kompozitora 20. stoljeća, a osobno se smatra bližim suvremenoj elektroničkoj sceni. Na svom nadolazećem albumu, kojega će prezentirati ovom izvedbom, istražuje odnose navedenih pravaca i teži pridonijeti ukidanju granica, elitizma i kontroverzi koje okružuju tu tematiku. Gáborov rad je centriran i na emocije, vremensku dinamiku, te pokušava proširiti mogućnosti kontrasta u glazbi. – 19:00 – [predavanje @ Siva] FFglitch je precizan multimedijski alat za uređivanje, temeljen na FFmpeg-u. Glitchanje datoteka pomoću hex uređivača nalik je na tetoviranje radioaktivnom sjekirom. Dobri rezultati su mogući, ali šanse za umiranje od traume ili neke genetske mutacije velike su. FFglitch više nalikuje na genetski inženjering; manipulacijom gena uzrokuje prirodan rast tetovaže. FFglitch proizvodi valjani bitstream, tako da se Facebook ili YouTube neće zagušiti vašim datotekama. Toliko je precizno da se jedva može smatrati glitchanjem... Ramiro Polla — voli hakirati stvari. Bio je FFmpeg developer 5 godina, no sada zna bolje… ffglitch.org – 20:00-22:00 – [teleradionica @ hacklab01] Demonstracija metoda za glitchanje .obj datoteka korištenjem tekst editora i proračunskih tablica. Radionica obrađuje i standardne trokute i edgeloop obrasce koji se koriste za oblikovanje većine 3d modela, a demonstirat će se i remeshing tehnike koje mogu proizvesti velik broj zanimljivh glitcheva. Ako ostane vremena, raspravit ćemo i druge 3d formate i načine za njihovo glitchanje. Mark Klink — bio je i radio mnoge stvari: meo je podove, radio u tvornici, bio je atletičar, radio u državnoj službi, kao spasioc, programer i zaposlenik tiskare. 20 je godina podučavao korištenje računala djeci i drugim nastavnicima. Osim obitelji, najviše voli stvarati začudne slike. srcxor.org – 14:00-17:00 – [radionica @ hacklab01] ] Izgradnja "prljavog" video mixera koji "miksa" dva analogna video izvora na "loš" način, što daje glitchan rezultat. Odlična studija za razgovor o composite sync signalu i kako se njime mogu dobiti divni rezultati. Bastien Lavaud — izamišlja i stvara elektroničke uređaje za umjetnost. Audio, video i DIY entzijast, svoje kreacije dijeli na svojoj web stranici tako što dijeli znanje o njihovoj izgradnji. Producira video isječke za svoj VJing alias Holographic Thought Process i tako demonstrira svoje kreacije. syntonie.fr – 18:00 – [predavanje @ Siva] Odgovor na ovo pitanje ovisi o tome što držimo glazbom. Ako se pogledamo u prošlost, susrest ćemo npr. pojmove kao što su musica mundana, musica humana i musica instrumentalis. No značenje musice sukladno je harmoniji, skladu, nečemu što nema nikakve veze s užim značenjem harmonije u teorijama tonaliteta. Namjera mi je ovdje ukazati na to da glitch glazba pripada svim onim vrstama glazbe koje ne podrazumijevaju tradicionalne, konstante determinante glazbe kao umjetnosti. Glitch glazba ide u istu skupinu u kojoj je "glazba kao namještaj" (Erik Satie), "papirnata glazba" (Josef A. Riedl), "bruitistička glazba" (talijanski futuristi), "prozna glazba/"glazba za čitanje" (Dieter Schnebel), "glazba za oči" (Luciano Berio), "organizirani zvuk" (Edgard Varèse), "organizacija zvukova" (John Cage)... Ako želimo izbjeći "sound art" kao nešto što ne spada u glazbu u najopćenitijem smislu, moramo razmišljati o glazbi u množini. Glitch glazba bila bi onda jednostavno jedna od njih s vlastitom teorijom, estetikom i značenjem. Nikša Gligo — hrvatski muzikolog, rođen u Splitu 1946. Diplomirao je 1969. engleski jezik i komparativnu književnost na Sveučilištu u Zagrebu a 1973. Muzikologiju na Sveučilištu u Ljubljani. Kasnije je studirao s Koraljkom Kos na Sveučilištu u Zagrebu gdje magistrira 1981. Nakon toga s Andrejom Rijavcem sa Sveučilišta u Ljubljani priprema doktorsku disertaciju o problemima Nove glazbe koju brani 1984. Dobiva stipendiju za usavršavanje u Kölnu, Berlinu (Carl Dahlhaus, Rudolf Stephan) i Freiburgu (Hans Heinrich Eggebrecht, Albrecht Riethmüller). Predaje na Muzičkoj akademiji Sveučilišta u Zagrebu od 1986. Redoviti je član Hrvatske akademije znanosti i umjetnosti i član Europske akademije u Londonu. Gligo se bavi estetikom, semiotikom i terminologijom glazbe 20. stoljeća. Njegov projekt standardizacije hrvatske glazbene terminologije u 20. stoljeću rezultirao je knjigom Pojmovni vodič kroz glazbu 20. stoljeća, koja je relevantna kako za lingvistiku, tako i za muzikologiju a za koju je Gligo nagrađen Hrvatskom nacionalnom nagradom za humanističke znanosti. – 20:00 – [performans @ Siva] screenBashingje živa izvedba kodiranja, u kojoj se programiranje zvučnih i vizualnih materijala odvija u stvarnom vremenu pred publkom, Kao zvučnu komponentu umjetnik koristi SuperCollider (programski jezik orijentiran ka zvuku), a za vizualne elemente C (programski jezik opće namjene). Vizuali se stvaraju brzim uzastopnim ispisom grafičkih znakova na korisnički ekran koristeći funkciju ispisa na zaslonu, odnosno prikaz zadanih znakova korisniku, osnovnu funkciju zajedničku gotovo svim programskim jezicima. Takav pristup zamrzava računalo nekoliko puta u sekundi, što stvara iluziju animiranog kretanja, za koju ni C niti funkcija ispisa nisu namijenjeni. Nakon prelaska praga responzivnosti, sustav postaje nestabilan sve do točke nakon koje ga više nije moguće kontrolirati niti predvidjeti kraj izvedbe, koji nastupa kada se procesor optereti do te granice da se sruši cijelo računalo ili je audio i video generatore potrebno zatvoriti silom. Trenutna verzija performansa dodaje novu razinu greške putem korištenja prijenosnika koji nije priključen na strujni priključak. Količina energije koja ostaje u prijenosniku pri početku performansa - odlučuje o trajanju istog, te donosi kraj koji se manifestira samostalnim gašenjem stroja. Magno Caliman — educiran u klasičnoj kompoziciji i s praktičnim iskustvom hardcore / death metal gitarista, autor se ovom prilikom predstavlja u ulozi sound artista i multimedijskog performera, s fokusom na razmeđi umjetnosti i tehnologije. Dvije specifične prakse vode sve procese u njegovom recentom radu već nekoliko godina: modifikacija i manipulacija elektroničkim sklopovima i prihvaćanje programskih jezika kao mjesta za poetsku spekulaciju. vimeo.com/magnocaliman – 14:00 – [otvoreni studio @ Siva] Random Pixel Order je projekt započet 2015. od strane umjetnika Clare R/ i Guillaumea Cartisa, Random Pixel Order je crossover kolektiv koji se bavi IT i mikro-edicijama (tzv. zine-ovima), a kojemu je cilj približiti digitalno i fizičko samoizdavaštvo i razumjeti kako se to dvoje mogu nadopunjavati. Mediji Random Pixel Order-a su glitch umjetnost / razvojna umjetnost / analogno hakiranje, uz ilustracije / grafičke novele / svilotisak / print / skeniranje / zine-ove. "The Archive" je kolekcija digitalnih zineova, u kojoj svaka publikacija ima svoju pozadinsku priču, specifičnu tehniku (često i više tehnika). Kolekcija je otvorena digitalnoj umjetnosti i objedinjuje mnogo tehnika - glitch (sonifikaciju, 3D glitcheve, pixel sorting,...), kreativno kodiranje, pronađene snimke, bitmape i MS Paint crteže, pokrete skenerom, digitalne kolaže... I u samome tisku koriste se različite tehnike - povremeno digitalni print, ponekad svilo ili riso tisak te miješane tehnike otiskivanja. Uz predstavljanje 50 primjeraka RPO zineova na /’fu:bar/-u 2018., RPO poziva sve goste i gošće sudionike/ce festivala na sukreaciju novog zine-a u okviru otvorenog studija. Clara R/ — osnovala Random Pixel Order (2015., s Guillaumeom Cartisom), tijekom preddiplomskog studija matematike i računalnih znanosti u Bordeauxu, Francuska. Pod utjecajem računalnog koda i facinacijom matematičkim funkcijama, odlučuje to znanje primijeniti na vizualno stvaralaštvo. Tijekom vremena eksperimentira s različtim tehnikama, počev s 2D glitchem i datamoshingom, preko generativne umjetnosti pa do 3D glitcha. U posljednjih par godina Clara stavra projekte koji bi mogli povezati jaz između zine-ova i računala. RPO kolektiv trenutno istražuje nove fizičke medije, a Clara sve više vremena provodi baveći se interaktivnim tehnikama kao što su Arduino i video igre. Trenutno je na magisteriju grafičke računalne znanosti, robotike i video igara, a istovremeno stvara plakata i fanzine. Guillaume Cartis — osnovao Random Pixel Order (2015., s Clarom Rigaud) po samo-publiciranju nekoliko zine-ova. Cilj osnivanja kolektiva je povezati digitalno i zine stavralaštvo. Istražujući različite glitch art tehnike, pristupio je 3D-u, video editiranju i snimanju filmova. 2016. osniva Disparate - trgovinu zine-ovima, u okviru koje radi na organizaciji i radionicama Bordeaux Zinefest-a. Tijekom posljednjih godina bavi se risografijom, svilotiskom, scenografijom i ne-baš-ugodnom elektroničkom glazbom. facebook.com/randompixelorder/ – 18:00 – [predavanje @ Siva] Dvadeseto stoljeće te početak dvadeset i prvog, može se označiti kao stoljeće medijske umjetnosti. Ne samo filmaši, već i slikari, kipari, grafičari, arhitekti, scenografi i mnogi drugi, eksperimentiraju sa medijskim tehnologijama od samih početaka. Predavanje će prikazati jedan kratki povijesni pregled upotrebe nesavršenosti tehnike medija kao umjetničkog izraza. Primjeri video produkcije Media in Motion Berlin-Zagreb GbR (Ingeborg Fülepp i Heiko Daxl, 1990. do 2012.), prikazat će više primjena umjetničke obrade slike, koje su autori ostvarivali jednom simbiozom analognih filmskih i video te digitalnih grešaka u pojedinim video radovima. Na kraju predavanja posjetitelji/ce moći će vidjeti izbor iz najboljih radova Media in Motion umjetničke produkcije. Ingeborg Fülepp — rođena 1952. u Zagrebu. Živi i radi u Rijeci, Berlinu i Zagrebu. Kao Magistra pri Akademiji za kazalište, film i televiziju (danas Akademija dramske umjetnosti) u Zagrebu te predavačica s postdiplomskim stupnjem pri Harvard School of Education (Ed.M.), od 1978 do 1993 predaje Filmsku i TV montažu na Akademiji dramske umjetnosti (APU). Od 1983 predaje film, video i multimedije na raznim visokim školama i univerzitetima u SAD-u, Velikoj Britaniji, Holandiji, Austriji i Njemačkoj, te nove medije u Hrvatskoj, gdje 2013. godine postaje izvanredni profesor na Akademiji primijenjenih umjetnosti (APURI), pri kojoj 2017 osniva Centar za inovativne medije (CIM), kojemu je i voditeljica. Aktivno sudjeluje na mnogim međunarodnim znanstvenim skupovima, izložbama i festivalima, te sudjeluje na nekoliko EU projekata kao suradnica ili članica komisije. Kao montažerka slike i zvuka radi na mnogim produkcijama, a kao umjetnica ostvaruje mnogobrojne radove na grupnim i samostalnim izložbama iz područja umjetničkih video, interaktivnih i multimedijskih instalacija. Uz primitak brojnih stipendija i nagrada, njeni radovi prikazivani su među ostalim u Neue Nationalgalerie u Berlinu, Muzeju suvremene umjetnosti (MSU) u Zagrebu, Muzeju moderne i suvremene umjetnosti (MMSU) u Rijeci, te mnogim privatnim i nacionalnim galerijama širom svijeta. Kao kustosica i organizatorica izložbi medijske umjetnosti vodila je neprofitabilnu organizaciju "Media in Motion Berlin – Zagreb" u suradnji sa Heikom Daxlom te organizirala mnogobrojne međunarodne izložbe i skupove. fuelepp.com UTO 09.10. 20:00 – [performans @ Siva] Polusatni živi improvizacijski performans s naprednom uradi sam elektronikom, kao što su SNU (Special Noise Unit, FM-sint), sequenceri, ring modulatori i unikatni ultrasonični instrumenti (odašiljači, "šišmišje uši"). Glavne elektroničke jedinice distribuiraju se pod otvorenom licencom, a njihovi nacrti bit će dostupni nakon izvedbe. Jo FRGMNT Grys — rođen 1963. u Essenu u Njemačkoj. Studirao je kemiju, filozofiju, minerologiju, itd. na sveučilištu Justus-Liebig u Gießenu. Nakon školovanja okreće se umjetnosti inspiriranoj znanošću, kojom istražuje formiranje strukture buke i reda, grešaka i zakonitosti, te feedback-a kao glavnih tema vlastite umjetničke prakse. Grysova praksa bazira se na video šumovima, elektronici, računalima, tijelu i mozgu. Nastupa s noisiV (DIY elektronika i video manipulacije), TOB (DIY elektronika i odašiljači) te, od 2010., kao FRGMNT (DIY ultrasonični uređaji i strukturirana buka) i 2VM (VJ tim) od 2002. godine. Grys od 2004. godine izvodi i elektroničke instalacije, te drži radionice. Nastupao je na festivalima kao što su V2´s DEAF (Nizozemska), Piksel (Norveška), Pixelache (Finska), Dorkbot (Švicarska), CTM (Njemačka). Radi kao umjetnik i izumitelj strojeva. Zadnjih godina javnosti prezentira svoj rad i u području računalne grafike. frgmnt.org – [workshop @ hacklab01] Radionica koja polaznicima/cama pokazuje kako izgraditi SNU (Special Noise Unit), eksperimentalni zvučni sklop koji koristi nevažeća stanja između 1 i 0, čime dovodi digitalni čip u polusvijet nesigurnosti, rezultirajući kompleksnim i nekontroliranim ponašanjem uporabljivog glazbenog instrumenta. Jo FRGMNT Grys — rođen 1963. u Essenu u Njemačkoj. Studirao je kemiju, filozofiju, minerologiju, itd. na sveučilištu Justus-Liebig u Gießenu. Nakon školovanja okreće se umjetnosti inspiriranoj znanošću, kojom istražuje formiranje strukture buke i reda, grešaka i zakonitosti, te feedback-a kao glavnih tema vlastite umjetničke prakse. Grysova praksa bazira se na video šumovima, elektronici, računalima, tijelu i mozgu. Nastupa s noisiV (DIY elektronika i video manipulacije), TOB (DIY elektronika i odašiljači) te, od 2010., kao FRGMNT (DIY ultrasonični uređaji i strukturirana buka) i 2VM (VJ tim) od 2002. godine. Grys od 2004. godine izvodi i elektroničke instalacije, te drži radionice. Nastupao je na festivalima kao što su V2´s DEAF (Nizozemska), Piksel (Norveška), Pixelache (Finska), Dorkbot (Švicarska), CTM (Njemačka). Radi kao umjetnik i izumitelj strojeva. Zadnjih godina javnosti prezentira svoj rad i u području računalne grafike. frgmnt.org – 18:00 – [predavanje @ Siva] Na prvi pogled čini se da računalni programeri koji rade na ne-umjetničkim računalnim aplikacijama i umjetnici koji koriste programske jezike za umjetničku praksu koriste iste alate (strojeve za računanje), i stoga se te dvije prakse mogu smatrati sličnima. Ovo predavanje povlači paralele u načinima rada dvaju navedenih slučajeva i komentira položaj umjetnika - nepojmljiv profesionalnom programeru: činjenje grešaka, pokušaj i pogreška i neznanje među glavnim su tehničkim aspektima prakse i ne samo da su očekivani, nego su i nužni kako u svakodnevnom eksperimentiranju, tako i u razumijevanju računalnih alata. Magno Caliman — educiran u klasičnoj kompoziciji i s praktičnim iskustvom hardcore / death metal gitarista, autor se ovom prilikom predstavlja u ulozi sound artista i multimedijskog performera, s fokusom na razmeđi umjetnosti i tehnologije. Dvije specifične prakse vode sve procese u njegovom recentom radu već nekoliko godina: modifikacija i manipulacija elektroničkim sklopovima i prihvaćanje programskih jezika kao mjesta za poetsku spekulaciju. vimeo.com/magnocaliman – [performans @ Siva] Učitavanje… prijenosa, datoteke, filma. Svemu treba vremena za pripremu dok ne postane vidljivo i ugodno. Kada je spremno - slavimo! Možemo započeti konzumaciju! Zašto imamo potrebu da nešto bude spremno? Zašto ne preferiramo stvari čija priprema još traje? Preuranjeno dijete, nezrelo voće ili sadašnji trenutak naših života s aktivnim stanicama u našim tijelima? Zadnji postotak koji nedostaje dovoljan je da stvori nelagodu prema učitavanju koje nikada neće završiti, prema datoteci i životu koji se nikada neće uspješno preuzeti. Paul Vivien — novomedijski umjetnik koji stvara instalacije i performanse. Eksperimentira sa svjetlošću, prilagođenim generativnim softverom, videom i zvukom, a svaki mu je projekt prilika za otkrivanje novog načina izražavanja. Zahvaljujući novim tehnologijama, pokušava materijalizirati virtualne granice i pomoću nevidljive tehnologije osnažiti naš osjećaj realnosti. Paulov umjetnički svemir nastanjen je istraživanjem o digitalnim oblicima života, kroz temu koja objedinjuje singularnost, umjetnu inteligenciju, znanstvenu fantastiku i prirodu. Radi i živi u Parizu, gdje drži predavanja i radionice u obrazovnim ustanovama kao što su ENSAAMA, ECV and EPSAA. Uz osobne projekte kao produkcijska podrška sudjeluje i u organizaciji OYÉ, kaleidos studio istraživanjima, organizira izložbe, te je dio Omicron Persei 8 live AV sastava. paulvivien.fr – 18:00 @ Gallery Siva — o trenutnom stanju reinterpretacijskih novih medija, njihovim uzorima, promjenama i utjecaju koje (do)nose, a u odnosu na umjetničke i tehnološke modalitete etike i prakse. Cilj razgovora je, uz /’fu:bar/ gostujuće umjetnike/ce, kontekstualizirati raznovrsne glitch-utemeljene kritičke (i aproprijacijske) prakse. – 20:00 – [performans @ Siva] Performans čitanja tekstova i pjesama, instalacija glitchanog videa, živog zvuka i slike. Djelo je eksperiment žene (i njenih alter ega) koja na licu mjesta pokušava postati nadmoćnim ljudskim bićem. Djelo sadrži ambivalentne kontradikcije ženskog/muškog, slabog/jakog te crnog/bijelog, koji obitavaju unutar jednog tijela u plovidbi neprijateljskim područjima. “Experimental Desires” će, mislenim putovanjem i izlaganjem najizglednijim arhivama opipljivih stvarnosti, osjećaja, želja i trauma - istražiti emotivne, mentalne i fizičke aspekte postajanja savršenim ljudskim bićem. Nada Hasan — multidisciplinarna umjetnica iz južnog Egipta, živi i radi u Kairu. U posebnom fokusu njene prakse su video i medijska umjetnost, no s varijacijama između ilustracije, grafičkog dizajna, performansa, kazališta i pripovijedanja. Diplomirala je ruski jezik, književnost i film pri Jesuit Cinema School u Cairu 2010. Otad razvija svoje sposobnosti u filmskoj i video umjetnosti samostalnim učenjem, istraživanjem i eksperimentiranjem s raznim oblicima stvaranja pokretne slike. Njen rad fokusiran je na “emotivnu zapreminu” komodificiranog tijela; vidljivost borbe istog, te emocije otporne na osuđujuće moderno društvo, a s naglaskom na izražavanju iskustva opresije i preživljavanja u neravnotežama moći između Rase, Roda, Seksualnosti i Moći. Nadina video i medijska praksa teže novomedijskom nadilaženju granica klasičnog filmskog stvaralaštva, uz stvaranje alternativnih međuodnosa umjetnika/ce prema promatraču/ici, a usmjereni su nekonvencionalnom narativu slike i pokreta. vimeo.com/user5161708 FRI Oct 12th – 6pm @ Gallery Siva (hrvatski ~45’ | english~45’) Kontakt za upite: fubar@hacklab01.org – 18:00 – [performans @ Siva] "cHroma flux" istražuje proces metamorfoze u kojoj se ćelije boje i zvuka šire kako bi stvorile nove oblike. Zahvaljujući tehnologiji, pikseli boje i akustična glazba mutiraju i raspoređuju se prostorom te udahnjuju život tehnološkom krajobrazu. Vizuali su generirani živom manipulacijom slika prenesenih na acetat, rezultirajući otiscima koji su postavljeni na TV ekrane feedbackom kojega izazivaju web kamere, što je proces koji pokreće seriju transformacija obojenih piksela. Vizualni tok boje kreiran je zahvaljujući video mikseru, a rezultat je tehnološka animacija nalik mikroskopskom pogledu - svojevrsna generativna digitalna mantra koja svojom reprodukcijom zauzima nove prostore. Zvučna kulisa performansa razvijena je uporabom sintesajzera i sempliranjem klasične glazbe. Akustični uzorci deformirani su digitalnom i analognom tehnologijom tako da do slušaoca dopire samo goli zvuk, potpuno odriješen svoje izvorne gramatičke, cerebralne i ljudske prirode glazbenog jezika. U “cHroma flux” - zvuk i slika međusobno se aficiraju, u sinestetskoj viziji koja ne nastaje gestom stroja, već fizičkom, izvedbenom gestom. Tabache — svoje putovanje započinje 2004 s "Problems with my Mind", elektro eksperimentalnim punk bendom s utjecajem bendova kao što je Suicide te polako uplovljava u house, techno i IDM vode. Izdaje dvije ploče, "Album" (2005.) and "Stato di Tensione"(2007.). Nakon što se seli u Bolognu, započinje prvi solo projekt, Tabache, posvećen živom osjetnom iskustvu, pod velikim utjecajem tehna i ambienta. Novi život pružio mu je novi tok kreativnosti, u kojemu 2015. izdaje svoj prvi solo album "Searching a total state", te osniva vlastiti label "Timeless Records" s Albertom Randijem i Giovanniem Ricchijem. Iste je godine bio kustos performansa i zvučnog dizajna za predstave performativnog teatra Ennia Ruffola. Njegov interes za clubbingom, doveo je do stvaranja novih kanala elektronske glazbe u Bologni sa serijom elektroničkih programa kao što su "Sunday Calling" (2012 - 2014), "Futuro Dancefloor" (2015.-2017.), "Bologna Elettrica" (2017., 2018.), te novog umjetničkog kolektiva "Einheit" (2017.) soundcloud.com/tabache Lady_oN — video i vizualna umjetnica koja djeluje na talijanskoj i međunarodnoj sceni. Stvara sanjalačke vizualne livesetove, maštovitu scenografiju koja ulazi u prostor DJ setova, žive glazbe, instalacija i kazališnih predstava. U stalnom je stanju istraživanja i eksperimentacije, a za stvaranje koristi kolaž slika, video sinteze, pronađenih snimki, feedbacka, opstruirajući predpostojeće vizuale beskonačnim mogućnostima koje nude video zapis i zvučni prekidi. Simultano radi i na projektu Mediamorphose, u kojemu istražuje raznovrsne vizualne poetike slika i vizija, produkcijom glazbenih spotova i dokumetiranjem stvarnosti.instagram.com/mediamorphose/ – 21:00 @ Gallery Siva "Ondes noires" / "Dark Waves", Dokumentarac (21’14’’) U ultra-povezanom društvu, u kojemu su valovi doprijeli u svaki prostor, troje ljudi netolerantnih na elektromagnetske valove - svjedoče preživljavanju u svijetu koji im je sve manje i manje dostupan. Uprizorenje priče istražuje ideju usporavanja u vremenu; neophodnog stanja za percipiranje realnosti koja se proteže van vidljivog. Scenarij & režija - Ismaël Joffroy Chandoutis; Kinematografija - Nikos Appelquist Dalton; Produkcija : Le Fresnoy – Studio national des arts contemporains. // Screens and Prints Aaron Juarez Adrian Cain Affar Oppip Allison Tanenhaus Bartek Pilarczyk Creation by Destruction Cyberart By Justin Digital Ruins Earnest Raw elle thorkveld Ivana Miljkovic Ivana Miolin Barić John Bumstead jrdsctt Magdalena maja kalogera Mark Klink Mila Gvardiol Mirna Udovčić Neal Peterson Riitta Oittinen Robert Hruska Sabato Visconti satej soman Sebastian Gatz sepo Skinny Bunny tajny_projekt Tchidu Twin Pixel vivid windowzine Yuri Zalevski // Interactive Dario Zubovic Jim Andrews jonCates Kolmogorov Toolbox Magdalena Zoledz x Robert Kowalski Sabato Visconti Timo Kahlen // Narrative Gelido Jessica Evans Random Pixel Order // Time-based Baron Lanteigne + Derek Piotr Christoph Kerschner DAJAJDE Daniela Olejnykov (a.k.a paranthre, velvet_bites_) Daniela Takeva, Nikolina Nedialkova, Felix Ermacora Demet Karapinar DF0:BAD Digital Ruins Dom Barra _ AlteredData elle thorkveld Gochevas Ismaël Joffroy Chandoutis Kacper Mutke Lívia Zafanelli Lou Morlier Marija Lučić Meena Khalili Nickk Outernet Explorer Paloma Schnitzer & Pablo Denegri Paul Beaudoin Petra Drevenšek Philippe Girardet Qin Tan [sic][redacted] | alan page Timothy Nohe vivid // Lectures And Workshops Holographic_thought_process Ingeborg Fülepp Jo FRGMNT Grys Magno Caliman Mark Klink aka srcXor Nikša Gligo Ramiro Polla Random Pixel Order // Performances Jo FRGMNT Grys Lovely Insomnia Magno Caliman Nada Hasan Paul Vivien Tabache & Lady oN