Coury and Try go over what it's like to get started with the MiSTer FPGA project in 2022 - the parts you need, the processes required to set it up, what you need to do to get great audio and video, and what kinds of fun things you can do with the many console, computer, handheld, and arcade cores! You might just see that it isn't nearly as hard as you thought it was!

► Resources

► MiSTer Development & Documentation :: https://github.com/MiSTer-devel :: https://mister-devel.github.io/MkDocs_MiSTer/

► MiSTer Social Resources :: https://misterfpga.org/ :: https://discord.gg/misterfpga

► MiSTer YouTube Resources :: https://www.youtube.com/MiSTerFPGA :: https://www.youtube.com/MiSTerWalrusFPGA :: https://www.youtube.com/VideoGameEsoterica

:: https://www.youtube.com/LusRetroSource

► Chapters 00:00 - Opening 1:55 - Part 1: MiSTer Overview 6:45 - Part 2: Core Focus: Atari Consoles, ColecoVision and other Pre-NES Consoles 12:06 - Part 3: Building your MiSTer 19:26 - Part 4: Core Focus: NES and Super NES 27:38 - Part 5: Setting up the SD Card 33:34 - Part 6: Core Focus: PC-Engine/Turbografx-16 & Neo Geo 44:18 - Part 7: MiSTer OS, Input Options and other Odds 'n Ends 53:51 - Part 8: Universal MiSTer Settings, Editing the .ini File 01:05:16 - Part 9: Core Focus: Sega Master System, Game Gear, Genesis/Mega Drive and Sega CD 01:20:16 - Part 10: MiSTer Audio and Video Settings 01:37:07 - Part 11: Core Preview: MiSTer PlayStation 1 01:43:32 - Part 12: Core Focus: 486 PC, Commodore 64, Amiga, ZX Spectrum, MSX, Sharp X68000 02:10:07 - Part 13: Core Focus: Game Boy / Color, Game Boy Advance, WonderSwan, Atari Lynx 02:25:25 - Part 14: Core Focus: Capcom CPS-1 & CPS-2, Sega System-16 and more Classic Arcade Games 02:37:02 - Ending

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My Life in Gaming makes documentaries, deep dives into retro console hardware, and more.

In mid-January, a group of computer scientists and biologists from the University of Vermont, Tufts, and Harvard announced that they had created an entirely new life form — xenobots, the world’s first living robots.

Or... How To Not Be A Horse. Automation and AI promise to usher in an era of amazing productivity and innovation. But they also threaten our very way of life.

Support me on Patreon! http://www.patreon.com/answerswithjoe

Follow me at all my places! Instagram: https://instagram.com/answerswithjoe Snapchat: https://www.snapchat.com/add/answerswithjoe Facebook: http://www.facebook.com/answerswithjoe Twitter: https://www.twitter.com/answerswithjoe

LINKS LINKS LINKS:

Tony Seba's talk about why transportation and energy will be obsolete by 2030: https://www.youtube.com/watch?v=Kxryv2XrnqM

http://www.chicagotribune.com/classified/automotive/ct-self-driving-cars-now-20160818-story.html

Okuma Automation: https://www.youtube.com/watch?v=3d-kPBbxb0Q

CNet News on the automated Amazon fulfillment centers: https://www.youtube.com/watch?v=UtBa9yVZBJM

Fully Charged - Self-Driving Nissan Leaf: https://www.youtube.com/watch?v=cfRqNAhAe6c

Partial Transcript:

For hundreds, even thousands of years, the horse was humanity’s go-to form of transportation. And in 13 years, that all changed.

Right now, we are on the cusp of a technological disruption that will make the switch from horses to cars look like switching from Coke to Pepsi.

So we talk a lot on this channel about exponential growth, artificial intelligence, the singularity, and that’s a lot of fun, but there is a dark side to all this change, one that really needs to be talked about because the way we respond to it is going to significantly alter our future as a species.

The BBC released a report just a few weeks ago that said that 30% of jobs are going to go away in the next 10 years because of automation.

In the U.S., we’ve heard a lot over the last election about the proverbial coal miners and our current president specifically campaigning to bring back coal jobs.

But coal is just one of hundreds of industries that are taking advantage of employees that can work 24/7, never need a bathroom break, never sleep, never make a mistake and work twice as fast. Oh, and you don’t have to pay them.

Factories already decimated by outsourcing are now losing even more jobs to automation. And as automation becomes more sophisticated, more industries are at risk.

The transportation sector actually makes up 25% of the jobs in the United States, if you can believe that. A full quarter of the population. And autonomous cars… They’re pretty much here, guys.

Famously, the Tesla Model 3, going into production this year, will have autonomous capability, though it may not have the software available, it will have the hardware ready for it.

But less famously, there are a lot of other car companies trying to beat Tesla to market with this. Nissan has a fully self-driving prototype in development that they took a drive in on Fully Charged and it was spooky how good it was.

Cadillac is so bullish on self-driving technology, they spent millions of dollars to create a lidar map of every highway in the United States using their own proprietary system.

This way their cars won’t just rely on sensors and GPS to find their way, the Cadillac system will contain a 3D map of everything, including the roadsigns.

Google’s working on a car, Apple supposedly is working on a car, but the people who are really big on this technology are the service providers.

Uber made over 2 billion dollars last year. Imagine how much they could make if they didn’t have to pay their drivers...

Uber has been working for years on a transportation fleet of autonomous cars, and even Ford has made some intentions known of pivoting in a similar direction.

Many are predicting that cars will go from a retail industry to a service industry, with Peter Diamandis saying that in ten years, car ownership will be an outdated idea.

The fact of the matter is, you can be for automation or against it, you can agree with its use or not, but this is happening. And we need to be ready for it.

Some people are talking about a basic minimum income, a flat amount of money that everybody in a society makes, as a safety net to keep people above water. This is an interesting idea that’s even being tested in some places.

There is a coming change on a fundamental and massive level in this world. One that is filled with amazing advancements and technological wonders. The question is, will we be able to change with it?

Human-level intelligence is familiar in biological hardware – you’re using it now. Science and technology seem to be converging, from several directions, on the possibility of similar intelligence in non-biological systems.

Keynote with Ryan Bishop (Winchester School of Art), Benjamin H. Bratton and Metahaven At Haus der Kulturen der Welt Berlin 31.1.2014

Conference stream An Afterglow of The Mediatic

Planetary computation and its geographies can be modeled as a coherent platform, a vertical software/hardware "stack". In his forthcoming book, "The Stack: On Software and Sovereignty", Benjamin Bratton explores this topography as a geopolitical framework, one defined by accidents and contradictions as much as by inventions and efficiencies. The design group Metahaven's forthcoming publication, "Black Transparency", focuses on the political and aesthetic regimes of contemporary transparency, and their coexistence with networks, institutions, and various (dis)organised groups. The latest in their series of ongoing collaborative discussions, Metahaven and Bratton will take turns using the stack's six layers—Earth, Cloud, City, Address, Interface, and User—offering proposals on the future of each.

Earlier this year I devised and delivered the New Media Caucus sponsored panel and journal editorial: ‘Exaptation and the Digital Now’, with Zara Dinnen, Rob Gallagher and Alex Myers: Exaptation and the Digital Now: INTRODUCTION Case Study #1: Holoback Zara Dinnen Case Study #2: The Phantom Zone Daniel Rourke Case Study #3: Fire in the Hole – The Obviously Non-Short History of Art Games Alex Myers Case Study #4: Exaptation, Interpretation, PlayStation Rob Gallagher

The panel took place at the College Art Association annual conference, Chicago, February 14th 2014. Our write-up was featured in the New Media Caucus journal CAA 2014 conference edition. Click-through for each of our papers and the specially extended introduction:

Evolution is a dominant metaphor for thinking about and describing the processes of new technologies; we believe ‘exaptation’ offers a more productive, nuanced approach to questions of adaptation and co-option that surround digital media. [8] According to Svetlana Boym in her essay “The Off-Modern Mirror:”

Exaptation is described in biology as an example of ‘lateral adaptation,’ which consists in a co-option of a feature for its present role from some other origin… Exaptation is not the opposite of adaptation; neither is it merely an accident, a human error or lack of scientific data that would in the end support the concept of adaptation. Exaptation questions the very process of assigning meaning and function in hindsight, the process of assigning the prefix ‘post’ and thus containing a complex phenomenon within the grid of familiar interpretation. [9]

Media is replete with exaptations. Features specific to certain media are exapted – co-opted – as matters of blind chance, convenience, technical necessity, aesthetics, and even fashion. Narratives of progress cannot account for the ways technologies branch out or are reused, misused, and abused across communities and networks. Exaptation offers a way to think about digital culture not as ever-newer, ever-faster, ever-more-seamless, but rather as something that must always negotiate its own noisy history. Yesterday’s incipient hardware becomes the ordering mechanism of today’s cultural affects: a complex renewal that calls into question established notions of utility, value, and engendered experience. Exaptation accounts for features now considered integral to media without falling back into narratives that appear to anticipate what one could not anticipate. This article is a collaborative work that brings together the four co-authors’ various responses to the provocation of exaptation. In what follows exaptation is put into play as a model to help unsettle dominant narratives about the digital image in particular. Considering the digital image in various guises: as animated GIFs, poor images, art games, hardware, and holograms, this article will trace the traits that jump between media and metaphor; complicating linear narratives of progression, and reductive readings of remediation associated with new media. [10]

OVER THE NEXT DECADE video game engines will be used in film-making, with the two disciplines combining to eliminate the movie post-production process. That rather ambitious claim comes from Lucasfilm, the California production company responsible for the Star Wars franchise. Speaking at the Technology Strategy Board event at BAFTA in London this week, the company's chief technology strategy officer Kim Libreri announced that the developments in computer graphics have meant Lucasfilm has been able to transfer its techniques to film-making, shifting video game assets into movie production. Real-time motion capture and the graphics of video game engines, Libreri claimed, will increasingly be used in movie creation, allowing post-production effects to be overlayed in real time. Real-time motion capture refers to the use of a special suit covered in reflective markers along with specialised cameras so computers can calculate the motion of the underlying skeleton in a way that can be used to drive a computer generated character. Extracting and visualising these performances in real-time enables interactive virtual production and allows lens shots on virtual scenes. Apparently this technology will provide means for the removal of the post-production process. "Everyone has seen what we can do in movies, and I think most people will agree the video game industry is catching up quite quickly, especially in the next generation of console titles. I'm pretty sure within the next decade, we're going to see a convergence in terms of traditional visual effects capabilities - [such as] making realistic fire, creatures, and environments - but working completely interactively," Libreri said. "We think that computer graphics are going to be so realistic in real time computer graphics that, over the next decade, we'll start to be able to take the post out of post-production; where you'll leave a movie set and the shot is pretty much complete," Libreri said. Lucasfilm is confident in this concept as it has been testing it in the development of a series of prototypes created with the team at Lucasfilm's motion picture visual effects company Industrial Light & Magic (ILM). The first was a short film created in eight weeks, with Lucasfilm and ILM working together to heavily modify the Lucasarts' gaming engine. They changed the rendering techniques to produce a video that wasn't rendered in the traditional visual effects way at 10 hours a frame, but generated at 24 frames a second. That's 41 milliseconds per frame, generated on a games engine with a lot of games hardware." "The prototype was a film created on a games engine and a vision statement for where ILM would like to go in the future, and at the same time how Lucasfilm is getting into the same generation of console hardware," Libreri said. After the prototype movie, Lucasfilm and ILM worked on a Lucasarts Star Wars video game project called 1313, which was shown off at the E3 gaming conference in 2012. The game was in development for around two years using Nvidia gaming hardware, before it was cancelled when Lucasarts was shut down by Disney in April this year. However, 1313 has been used by Lucasfilm to demonstrate real-time motion capture, giving it the confidence to believe that video games engines could be used in movies and could one day replace the post-production process. "I think that the current way that we make movies is very pipeline stage process, takes away a little bit of the organic nature of a movie set or real environment. I'm hoping real time graphics technology brings back the creative possibilities that we have in the real world," Libreri said. "Let's not dismiss the artistry you put into a final shot, we do spend a lot of time steadily tweaking blooms and lens flares or the lighting in a shot, but we'll be able to get a lot closer so that more run of the mill windows replacements will be created interactively on stage." Lucasfilm believes that over the next ten years, this concept of exchanging assets between movies and video games will also pave the way for capabilities for viewers to customise movies in real time. Libreri used the future example of an animated Disney film that could be streamed live on an iPad from the cloud, allowing anyone that watches it to customise it; changing the costumes of the princesses, or putting their own friend in the background. "There's so many things that you can do with the fact that video graphics is going to be real-time and not this post-process that we've had traditionally," he added. "If you combine video games with film-making techniques, you can start to have these real deep, multi-user experiences. Being able to animate, edit and compose live is going to change the way we work and it's really going to bring back the creative experience in digital effects. To wrap up Libreri showed off a video demonstrating Lucasfilm's "performance capture stage" driving the game engine for 1313. The video shows the possibilities of this converging world of video games and movies and can be viewed below.

Also:

http://www.theinquirer.net/inquirer/news/2295956/lucasfilm-will-combine-video-games-and-movies-to-axe-post-production-process

You don’t need to leave the house to belt out your favourite karaoke tracks—with strangers. Two Skype-friendly artists have founded glti.ch karaoke, an online karaoke project which anyone can partake in. You literally sign into Skype and sing karaoke duets (or quartets) with fellow fans. Imagine chat roulette was entirely musical and you get how things are matched. The artists Kyoung Kim and Daniel Rourke started this without any plans. Three years later, they’re still singing to Belle and Sebastian on YouTube. Strangely, they’re not alone. As they continue to synchronize singers in different time zones, they also do these GLTI.CH Breaks event where DJs located in different parts of the world mix together in a basement, a bedroom, or a pub full of drunks (from New York to Seoul, they’ve done it all). Last month, glti.ch karaoke opened a show called Tactical Gltiches at the SUDLAB gallery in Italy. They spoke to us about tinkering with Ustream, avoiding crappy bandwith, and how acapella saves the day.

NOISEY: How did Glti.ch Karaoke come about? Kyoung Kim: We were swapping stories over a few pints—Daniel of his experiences living in Japan, and I of my time in Korea, and got to talking about missing karaoke in these respective countries. Unlike your average karaoke bar in the US or the UK with a conspicuous stage and spotlighting for the singer, karaoke in Korea and Japan generally consists of piling into a room with a bunch of friends, food, and drink and singing in a raucous mix of solos, duets, and group numbers eventually belted while standing on the sofa. It’s more about sharing fun with people than claiming your theatrical moment, and all in all, you get a lot more bang for your buck. For me, karaoke with my sister trumps all, but at the time she was living in Seoul. I confessed to Daniel I’d been getting my karaoke fix by singing YouTube karaoke videos with her over Skype. Daniel Rourke: We were astounded to find that nobody had given a name to ‘singing karaoke over Skype.” (We did a lot of Google searches). It seemed so obvious to us to hook up two locations, buffer a YouTube rendition of “Livin’ on a Prayer“ on both sides of the Atlantic and click “play.” That got us thinking about the possibilities. A good friend works at Meanwhile Space, a non-profit organization in London that transforms empty properties into community projects, and mentioned to us that they were about to start working in an old shoe shop in Whitechapel. The challenge to make karaoke happen in a dusty basement with no internet access at four o’clock in the afternoon spurred us on. We had our eye on the amazing stuff the GLI.TC/H community was doing at the time, and setup our website Glti.ch as a kind of homage to them. The rest is less easy to explain. How does it work? Rourke: We have done it a few different ways over the years, but we try and make sure the basic setup is accessible to anyone who wants to repeat it. Using free software like TinyChat or Google Hangouts we link up at least two disparate locations and orchestrate karaoke duets over the internet. YouTube is stuffed full of fan made karaoke versions of pop tunes. If you want to sing it, chances are, somebody has already uploaded it. Then it’s just a case of scrambling to get things to work on both sides. Kim: To prepare for that scrambling, we test and design a bunch of back-up plans that only work about 30% of the time in attending the actual glitches that manifest. In emphasizing the GLTI.CH of the karaoke, the scramble is something we both warn and invite others to join in on. So how things work is not just contingent on computer software, hardware, cables, and broadband connections, but also on the mix of curiosity, patience, and enthusiasm for making-your-own-fun-through-convoluted-ways that people bring with them to our events. Rourke: That’s where the “art” of the project begins: a sincere desire to dance with failure. The most exciting elements of the project come out of realizing how many variables there are in organizing something so simple, especially if you have a group of drunk karaoke enthusiasts at one end, say in Liverpool, and an old pizza restaurant in a London shopping mall at the other. The thing that remains stable—getting people to sing duets—is surrounded by all this other stuff that we, as the hosts, have to juggle. Let’s just say we are both very adept at keeping a crowd entertained.

How do you combine DJs in different time zones together? Kim: A lot of planning. Hosting a party in London on a Friday night means you get a DJ during the work day in San Francisco. So we work with our DJs’ schedules accordingly. There is constant managing and coordinating during the event. We dedicate one computer and the best internet connection in the house to connecting with the DJs with (so far) Skype, but also usually have one or two other computers open with Google Hangouts, again Skype, Tinychat, Facebook, Twitter, Kakao Talk, our phones, smoke signals, pigeon… both for backup and because different people have different preferences for interfaces. We avoid as much as we can set-ups that require others to register or sign up to any new social media outfit, download more software, or buy equipment they don’t have. With the last Breaks, we tinkered with Ustream, and the chat in there ended up being the key for making things go. What is GLTI.CH Breaks? Rourke: Originally, it was a project we instigated with Christina Millare. We wanted to take some of the stuff we had learned while glti.ch karaoking and translate it into another format. The result was the first GLTI.CH Breaks event, where we had three DJs—Tramshed, Sahn, and WaxOn—all located in different parts of the world, mix together in the basement of Power Lunches, Dalston. It was a blinding success, apart from the computer crashes, and crappy bandwidth, but that means success to us. Karaoke is a ridiculous phenomenon. Anyone who has watched the X-Factor will know how kitsch and mediocre karaoke can be. But those of us who love it embrace that, and the social outcome of that kitschy quality is what makes it so wonderful. Our projects inhabit that crappiness, and take it somewhere else, so the technical components of the work also echo the social, and hopefully the two really fuse and amplify each other. With GLTI.CH Breaks I think we stumbled on something like that. DJ mix culture is based around a beloved, but antiquated medium – the vinyl record – that is prone to skip, and jump and crackle and hiss. Ironically though, it is those very qualities that make vinyl perfect as a medium of expression. Building a series of technical, network, temporal and spatial layers on top of that in GLTI.CH Breaks we felt as if the creative element of DJing was heightened even further. Plus, drunk people get really excited when they realize that a DJ based in a bedroom in San Francisco is mixing tunes just for them. Kim: They get excited by it when sober too!

Enlighten us. What is “social glitch?” Kim: A phrase we’ve batted around since the beginning. To describe what we’d both been thinking about and working through in our separate research and practices. Rourke: Social glitches are at the heart of all the projects we have done. They are what you might call, “desirable unintended effects.” We go hunting for them, we try to set up the conditions to make them happen, but we never know when they might arise, or what exactly they might look like. For instance, in summer 2012, we took part in AND Festival, Manchester. We were asked by curator Christina Millare to host a GLTI.CH karaoke event in one of the bedrooms upstairs in a pub. We hooked the room up to our online chat room, and invited anybody with a webcam to join us from wherever they were in the world. The event in Manchester was raucous, full of people singing at the top of their voices from 8 PM until 2 AM. The HD television was lit up all night with new people logging in from London, Seoul, New York, and who knows where. At one point the computer in Manchester completely crashed—mid-chorus—and everyone in the room let out a huge groan of despair. The social glitch came when I logged back into the chatroom, because even though our side of the party had crashed, the participants online were still there singing their hearts out. It was an amazing moment, and the crowd in Manchester whooped with joy and began to sing along, even before I’d had chance to hook the music back in. It was improvized acapella karaoke and a beautiful unintended social effect. Nadja Sayej would like to sing “More Than A Feeling” with you. Follow her on Twitter - @nadjasayej   

In just 10 days time we will be taking part in Tactical Glitches, an exhibition curated by Nick Briz and Rosa Menkman at SUDLAB Gallery, Naples, with Domenico Dom Barra. “Technologies come with expectations, but these expectations aren’t always met. An MP3 might skip and crackle. A computer monitor might—for a moment—show shards instead of windows. A website might hiccup on load and scramble its contents. When this happens, we call this unexpected occurrence a glitch. While these moments are rarely anticipated and usually unwelcome, they are at times intentionally provoked. The result of this intentional and creative instigation is what we often call GLITCH ART.” – Rosa Menkman, Nick Briz Visit the gallery on opening night (January 24th) for a round of GLTI.CH Breaks, followed by a month-long Doom WAN Party in the gallery space! What is a GLTI.CH WAN Party? We’ve kludged together free software, dusty hardware, and technical loopholes to rock a global deathmatch Doom WAN party that celebrates, in GLTI.CH style, 20 years of Doom LAN parties. Computer stations installed at SUDLAB in Naples are connected to a remote laptop server in London and a turn-of-the-millenium PC in Seoul, inviting network errors through the front door and rendering gameplay inefficiently possible. Your keyboard movements and rocket launching in the SUBLAB gallery space may not just warm up, but explode computers and servers located across the world! Frienemies can also join in the rusty chainsaw action via the TACTICALGLITCH Doomseeker server. See you at SUDLAB or ONLINE very soon. Watch. This. Space!

This video was taken at Glitch Moment/ums opening event at Furtherfield Gallery (London) on Saturday 8 June 2013. Featuring artists: Alma Alloro, Melissa Barron, Nick Briz, Benjamin Gaulon, José Irion Neto, Antonio Roberts and Ant Scott. The artists in this exhibition appropriate the technological and digital medium in order to make what is known as Glitch Art. These technically, imaginative disruptions include different approaches with the media whether it exploits software or hardware and includes video, sound and glitch textiles. furtherfield.org/programmes/exhibition/glitch-momentumsCast: FurtherfieldTags:

Virtual Reality (VR), especially in a technologically focused discourse, is defined by a class of hardware and software, among them head-mounted displays (HMDs), navigation and pointing devices; and stereoscopic imaging. This presentation examines the experiential aspect of VR.

For 3 years I have collaborated on a project with Kyoung Kim. Known as GLTI.CH Karaoke, or sometimes just GLTI.CH, we’ve plotted the course of accidents, of temporal lyrical disjoints and technical out-of-syncs through a wide variety of different mediums, spaces and social conditions. This week saw what feels like the climax of our experiments, a three day – 67 hour – installation at CRYSTALLIZE, an exhibition of new media art held alongside the 2013 Korea Brand & Entertainment Expo, at Old Billingsgate, London. GLTI.CH has played a significant part in my practice and thus my thinking over the last 3 years. Working with Kyoung has afforded me countless experiences and opportunities, and introduced me to the world of glitch, digital, net and new media arts and artists. The project is not over, but its Karaoke phase is drawing to a conclusion. I thought it would be a good time to republish this half-considered manifesto I wrote a while back. 15 Statements about Glti.ch Notworking What makes out today’s networking is the notworking. There would be no routing if there were no problems on the line. Spam, viruses and identity theft are not accidental mistakes, mishaps on the road to techno perfection. They are constitutional elements of yesterday’s network architectures. Lovink, Gert. (2005), “The Principle of Notworking Concepts in Critical Internet Culture,” p. 10 GLTI.CH Karaoke is not a hack or some fancy programming. It’s taking the front-end of things and trying to make something else. We’ve made the mishmashed world of GLTI.CH Karaoke through play and we hope you’ll sing with us. karaoke, glti.ch (2011), “WHAT IS GLTI.CH KARAOKE?”

Glti.ches are more than aesthetic revelations: as software crashes, or hardware halts to a stutter, the soft underbelly of the notwork is exposed. The trick is to see the glti.ch not as an abhorrence, but as a signal of noisy potential: error and noise are an implicit feature of digital materiality. What Gaston Bachelard called ‘Desire Paths’, physical etchings in our surroundings drawn by the thoughtless movement of (human) feet, also exist online. For those versed in the language of the glti.ch, desire equals subversion and the means of flight – a way to reverse the roles of power. The line of desire in these cases is often laid directly over the enclosed path. Being buffered along by the unruly torrents of technical failure, the true semblance of the glti.ch is impossible to pin down: notwork control mechanisms have desirable unintended effects. The kludge is a hands-on, makeshift solution, to an unpredictable technical or social problem: 100% of cargo cult coders, pirates, glti.ch artists and hackers started out as kludgers. Algorithms that churn your Google search, or offer you potential meta-data with which to imbricate your image collection into the logic of the database, have themselves become actors in the play of human relations. Digital formats as diverse as ePub, DivX, and GIF, and software platforms from the likes of Google, Microsoft or Apple, trace narrative arcs which are themselves transcodable relations. Interruption, stutters and breaks force us into encounters with the world, exposing the circuitry that we as consumers are expected to elude into the background. Digital copies, being copied, forever copying, exert an unruly behaviour that exposes the material world. The most astonishing thing about the notwork is how any order can be maintained in it at all. The more regulations imposed upon the notworks, the more interesting the resulting glti.ches will be in their variation/liberation. Human beings are material entities, buffered by the same stops and starts as the notwork. Participating in the glti.ch, in the artifact that exposes the failure, is to align oneself with material reality. The glti.ch is a social phenomenon.

Animated GIF from the website Parked Domain Girl Tombstone (2013) DR: On first inspection, a lot of your work appears to be rooted in the 90s, drawing on the low bandwidth aesthetics inherent in GIFs, midi plugins, embedded frames, ASCII art, and forgotten webring hyperlinks. But the 90s comes out in other ways, too. Pop-cultural undercurrents include Nintendo and Leisure Suit Larry; mixtapes and a particular flavor of Europop. How/why do these things speak to you as a contemporary (Web) artist? EG: The origin of the meaning of most collected n found elements i use in my work is rooted in the 90s. My work itself isn't rooted in the 90s. I've been dragged to use that type of stuff mostly bc i like it n its accurate w the topics im interested in rn. Still tho the source material or what it evokes isn't really important. It jst adds semantic layer/s for some people n so does the aesthetics. Everything linked to that part of my work is treated as game elements (to be inserted) in different contexts of reception w diff codes of conduct. Its about notebooks. All that content is accessory to my work. You could really jst take the whole structure/s n insert totally diff content. It'd still make sense. Maybe Im already doing that but its not linked anywhere rn. Its kinda like people who enjoy playing Canabalt but hate playing Robot Unicorn. The gameplay is literally the same. Jst the content n aesthetic is different. That changes the whole experience. Whats a contemporary web artist?

Blinking Girls Cave (2012) DR: I love the idea of interchangeable (aesthetic) content, as if Andy Warhol could have changed the contents of a "textures" subfolder and suddenly transformed a Campbell's Soup painting into a Heinz. How is play more than a structural component to your work? I'm thinking about rulemaking and breaking, especially your collaboration with Sarah Weis, Blinking Girls Cave, which the park authorities took a disliking to while it was in progress. [Ed. – Blinking Girls Cave (2012) was a part of Apache Project, a series of artworks installed at Mother Neff State Park in Moody, Texas, in a cave that was once used by the Tonkawa Indians as a shelter as well as a burial site. After an initial proposal for an installation in the cave was rejected by park management (despite having been initially approved), the project ultimately took the form of a photo shoot, in which GIFs—some of them drawn from the imagery in seduction-based adventure game Leisure Suit Larry—were displayed on tablets, smartphones and laptops that were placed within the cave and documented. This scaled-back version also proved unacceptable to park management.] EG: I think play is a structural component of life. It's related to how i conceptualize, process n think stuff. It opens space for experimentation. To me, its more related to what sociologists do than anything performance art; like how-to approach different types of social dynamics from diff point of view per example. Also, like that Andy Warhol eating a hamburger video; a partly exhibited learning process. Breaking rules wasn't really a thing in ♡ ♥ Blinking Girls ♥ ♡. What happened at Mother Neff is that our first intended installation, which involved light effects n bubble machines, was disapproved at the last minute bc of the damage it could cause to the cave walls. Blinking Girls Cave thus became about hardwares n gifs. During the documentation - that being the installation - Nate Hitchcock, the director n curator n everything at Apache Project, was interrupted by a park ranger who requested him to leave the park because taking pictures n or making videos in the cave wasn't appropriate. DR: There’s a real sense of a partly exhibited learning process in your URL works: an ever growing array of Web 1.0 motifs, exhibited as unique URLs. For me these works expose the Internet as a spatial, material thing, still begging to be explored. You spoke of sociology, is there perhaps something archaeological in your practice? EG: The internet is def abt spatiality and materiality. One can relate to these notions differently. To me, its really more abt physicality. I wasn't really thinking abt them topics when i made these. It's jst kinda there in all websites. Thats the internet. I wouldnt say that these r really web 1.0. The user in both cases isnt primarily a content consumer. Backdoor trojan girl was exhibited at Domain Gallery in a way that highlighted the urls. Under other circumstances, it'd prob be different. The archaeological in my practice is kinda superficial rn. DR: Your URL artworks, http://backdoortrojangirl.net (2012) and http://w-h-a-t-e-v-e-r.net (2013), both flicker between female and male signifiers. Do you think the Web is gendered? How would you approach gender differently in work produced for a gallery context? EG: I don't think the web is gendered. Culture is n adds gendered filter/s to it in some cases. I don't know if i would approach it; maybe i'd dig a hole for feminists/feminism or i'd do a show about postpostpostpostpostpostpost-transexualism. It'd be really fun. DR: For your ongoing collaborative online exhibition Art Object Culture (2011-), you and Lucy Chinen bring together two artists each month to create a new work based on trinkets that were purchased online. These readily available objects accrue value as they pass through the project. I could ask you about the long shadow cast by Duchamp’s readymades, about ownership, exhibition value and artistic identity as they relate to the Web. Instead, I’d really like it if you shared some AOC secrets with us. What criteria do you use to select the artists? Which is your favorite submission so far and why? EM: Art Object Culture offers a website template for artists to explore art making within one rule: create new art objects from items pre-existing in various online stores. We mainly seek artists that have the ability to bend that rule. I don't really have a favorite submission. I like some more than others but my opinion on this is not important. There is no secret. The current format is a translation of our ideas on AOC related topics from 2011. It might eventually mutate. Hopefully we'll sell all the artworks that were made for it before that n or have a show; some kinda showcase for all of them together w everyone that made stuff for it n other people too.

Émilie Gervais  Age: my age range is 7 to 77. Location: Paca/FR. How long have you been working creatively with technology? How did you start? Since forever. I started by playing games on some used pc and recontextualizing movies, game related stuff as improvised play based on the characters n plot/s with friends at school. I've always spent a lot of time randomly surfing the internet while chatting on microsoft comic chat, mIRC, the palace n was really into customizing anything that was customizable ie. winamp skins, mirc themes, etc... Beside that, my fav drawing thing is Lite Bright n i've been deleting, moving, opening files since ive been typing on a keyboard. I've crashed the home computer a couple of times. Describe your experience with the tools you use. How did you start using them? Where did you go to school? What did you study? Experimentation n play! My main tool is the internet or jst even information. In college, ive done a dble cursus in literature n social studies. Then, I dropped out of art school in Mtl n went to Paris. In 2010/2011, i did a dnap/bfa in 1yr at the Ecole d'Art Superieure d'Aix-en-Provence where I'm currently finishing a dnsep/master w a focus in hypermedia. My thesis text thing's title is Fuck Privacy Demo Game Over. What traditional media do you use, if any? Do you think your work with traditional media relates to your work with technology? I'm not media based. The traditional/non traditional dichotomy makes no sense to me. I jst use whatever depending on the project im working on. It's more about ideas n processes. Are you involved in other creative or social activities (i.e. music, writing, activism, community organizing)? I tweet n play music on my iphone everyday. Before that, i played ice hockey n have done some cycling as a summer training thing. I love dancing. Also, health related stuff; superfoods n other stuff, but i mostly eat pizza n candies. Thats creative. I'm involved with adrenaline, gaming, immersive as non immersive n fun everyday. I'm really concerned about open source n how it affects education/academics. But im not seriously implicated in anything, im jst personally into it rn. What do you do for a living or what occupations have you held previously? Do you think this work relates to your art practice in a significant way? I worked at HMV Megastore n Liquid Nutrition in Montreal while being in college. I spent one summer selling autoportraits on the Pont Saint-Louis in Paris w a friend. I worked at some pizza place on bd de Belleville. The boss never slept, ate one fried egg a day and gave us free pizza n drinks everyday. Clients ordered one expresso and remained seated for hrs jst talking abt whatever. Total Belleville cliche. Everything influences the way i process stuff. RN im an art student. Who are your key artistic influences? Toru Iwatani, Kassia Meador, Gustav Klimt n the internet. Have you collaborated with anyone in the art community on a project? With whom, and on what? I collaborate w Lucy Chinen on Art Object Culture n conducted the Blinking Girls project w Sarah Weis. I work/ed w friends that are mostly into painting n music. I ghostpost alot n collaborate w lots of people actively n passively everyday on everything. Its mostly passive networked collaboration/s. Do you actively study art history? Im surrounded by it. I've been into it for as long as i can remember. My dad always brought the family to museums. When i was living in San Francisco, we went to Los Angeles one time mostly jst to go n visit the Getty museum. My college art history teacher was totally awesome. Art history entertains me. Do you read art criticism, philosophy, or critical theory? If so, which authors inspire you? I have phases in which i read alot and others in which i dont at all. Most of the time, i try not to remember the authors so it remains jst about the ideas. RN im reading Critical Play by Mary Flanagan. Are there any issues around the production of, or the display/exhibition of new media art that you are concerned about? Yes, but no at the same time. It really depends on the whole concept of a project. I kinda hate almst everything that is JUST about representation when it comes to new media related art tho, so i'd say im concerned about that. This conversation took place between 22 March and 1 April on a Google Drive document.

I want to change the way we think about videogames. Will you stay in the loop? chrisnovello.com and twitter.com/paperkettle In the video, I directly manipulate the RAM of Nintendo's Super Mario Brothers to transform it from a game into a strange instrument. I use two hardware controllers: illucia (a patchbay instrument I designed that lets me connect computer software with cables), and the Soundplane (an amazing multitouch surface by Madrona Labs). I begin by playing the game as one normally would, just using buttons on illucia.. but I also have access to the game's memory, so I use the Y axis on the Soundplane to alter the value in the memory address that determines Mario's Y position onscreen. This is how I make Mario fly and hover during the playthrough. Also, before I start playing, notice that I flip a switch on illucia. This triggers recording — not video, but actually recording the entire memory state of the NES for each game frame. Because I'm saving the game ~30 times a second (and keeping log of all saves) I'm able to go back to any moment in Mario's life. Sort of like a Super Mario time machine. So then I use the X-axis of the Soundplane to sweep through the timeline of Mario's universe. Not only that, but the Soundplane is multitouch, so I use a second finger to specify start and endpoints in a playback loop. This is similar to the way samplers and granular synths work, but for recordings of the entire memory state of the NES rather than audio data. Conceptually, it is like Super Mario meets Groundhog Day. Mario's universe computer / time machine gets caught in hellish loops. Then I use illucia to send alien data into Mario's universe, which makes for all sorts of audiovisual insanity amidst the spacetime loops. I found some memory addresses that produce interesting results, so I use illucia to pump them with unexpected data. This is sort of like circuit bending, but in a protected sandbox - at any point I can revert back to the clean recording of RAM states (aka moments in Mario's universe). At that point I try to go back to "playing" the game, watching Mario navigate a melting world of glitched-out ephemera. Toward the end of the video I use a pair of rubberband mallets on the Soundplane to jump around in Mario's timeline, all while illucia is left pouring a heavy stream of alien data into Mario's RAM state. I eventually (accidentally/luckily) land at a place that triggers the game over music, and decide to end the take. ===================== Disclaimer: I don't condone piracy or the distribution of Nintendo's IP. I'm posting this video as part of a critical-cultural project. Further - although the emulator tools I used to make this performance are fully legal, I'm not distributing any other materials related to making these interventions into NES games, so please don't ask. The video is shown with the intention of stimulating critical thought about the role of software in our lives. By showing that there are other ways one could interact with this well-known cultural artifact, hopefully I can inspire others to consider: Who decides how and what we see in a computer program? What is hidden? What sorts of strange other things lurk beneath the surface of our trained expectations? What if we lived in a culture that deeply embraced the expressive possibilities of computer programs? What if we encouraged curiosity about the interior of the systems that compose game worlds? Is that curiosity and critical inquiry itself not a form of play? Indeed there are platforms that embrace this sort of approach, but many don't. In fact, many close it off. What if we prioritized this sort of inquiry more? Might we find new frontiers for communication or even human knowledge and representation? What is a videogame, and how can it relate to all this?Cast: paperkettleTags:

I took a trip to Chicago for GLI.TC/H 2112! – A conference/festival/carnival/movement in honour (and despite) of hardware/software/wetware errors, databends and feedback blackholes. I took a ton of photographs, you can view them on Flickr (better quality) or Facebook (dotted with comments, insights and exultations from the GLI.TC/H community). I intend to write more about the event, but for now I will post my talk here, which I gave on Saturday 8th December. It’s title is Glitches in Things and the “Friendly Medium”, a talk expanding on an idea I have been carting around for a couple of years now. Updated with Object Oriented insights I hope it acts as a mental toolkit for artists looking to dance with objects, in all their glitchy splendour. As usual, I completely ignored my notes whilst talking, for this reason it’s worth listening to the question and answer bit afterwards. Infinite thanks must go to Rosa Menkman, Jon Satrom and Nick Briz – the GLI.TC/H Bots at the heart of the fest. Thank you for inviting me to participate. More on OOO, glitches, kipple and Things to come reeeeal soon… (the talky bit starts a few minutes in)

To what extent do the material components (e.g. hardware, source code, network protocols) and properties (e.g. speed, malleability, erasability) of digital technology influence the methodologies one might employ to study it? Is there a specific “ethnographic toolkit” that is particularly well-suited for studying the digital form and related socio-cultural phenomena?

The New Aesthetic concerns itself with “an eruption of the digital into the physical.” That eruption was inevitable.

If aesthetics could be hacked like code, then a beautiful rose, in the beak of a beautiful flamingo, flying in a beautiful sunset, would be 3X-beautiful. It isn’t. It never will be. You can’t make it be. That’s not the way the world works.

A sincere New Aesthetic would be a valiant, comprehensive effort to truly and sincerely engage with machine-generated imagery — not as a freak-show, a metaphor or a stimulus to the imagination — but as it exists. The real deal, down to the scraped-metal chip surface, if necessary.

Artists have used mechanical means of perception for a long time now. One doesn’t have to apologize for this nowadays, in the way Baudelaire used to wring his hands over daguerreotype cameras. That fight’s over. Everybody’s got hardware. People who can’t read have hardware. Every ivory tower we possess is saturated with hardware.

Emulators for playing older games are immensely popular online, with regular arguments breaking out over which emulator is best for which game. Today we present another point of view from a gentleman who has created the Super Nintendo emulator bsnes. He wants to share his thoughts on the most important part of the emulation experience: accuracy.

It doesn't take much raw power to play Nintendo or SNES games on a modern PC; emulators could do it in the 1990s with a mere 25MHz of processing power. But emulating those old consoles accurately—well, that's another challenge entirely; accurate emulators may need up to 3GHz of power to faithfully recreate aging tech. In this piece we'll take a look at why accuracy is so important for emulators and why it's so hard to achieve.

Put simply, accuracy is the measure of how well emulation software mimics the original hardware. Apparent compatibility is the most obvious measure of accuracy—will an old game run on my new emulator?

This is the research wiki-webring for Glitch and other glitch/noise related content GLI.TC/H is an international gathering of noise & new media practitioners in Chicago & Amsterdam from September 29 thru October 03, 2010! GLI.TC/H is a physical and virtual assembly of artists, hackers, moshers, dirty mediators, noise makers, circuit benders, p/h/i/l/o/s/o/p/h/e/r/s, and those who find wonder in that which others call broken. GLI.TC/H seeks: Realtime + time-based performances (audio/video), utilizing broken/bent technologies/strategies. Workshops, sharing knowledge of hardware/software hacking, cracking, breaking, kludging, piracy, & tool building. Artworks and Projects, artware, videos, games, films, tapes, code, interventions, screen-captures, systems, websites & installations. Texts, lectures, essays, code, articles, & hypermedia.