On Friday May 30th come to Arebyte Gallery, Hackney Wick, for an evening of GLTI.CH Karaoke! Sing with people present and telepresent, near and far in a raucous party at the edge of London. Invitation to Telepresent People Can’t make it to the gallery in person? Want to join or even host your own GLTI.CH Karaoke Portal on May 30th? Hook into the real-time live crooning fun via our Tinychat page: http://tinychat.com/gltich (For step-by-step instructions to join us: http://glti.ch/host-a-glti-ch-portal) All you’ll need is an internet connection, a webcam and a set of speakers/headphones loud enough to keep your feet moving and your vocal chords vibrating. Bio GLTI.CH is a collaborative mess between Kyougn Kmi and Daniel Rourke that breaches hopeless distances with cultural and technical make-dos. Our work brings people together in glitchy karaoke fests, broken DJ mix-haps, and other kludged-together happenings. Since April 2011 we’ve exposed the course of accidents, temporal lyrical disjoints and technical out-of syncs between, among others, London/Seoul/Kumamoto with Meanwhile Space, Liverpool/London with MercyUK, Amsterdam/Chicago/London with glidottcslashh, Amsterdam/Berlin/Seoul/Manchester as part of ANDfestival, and with The White Building, Hackney Wick. We’ve made the mishmashed world of GLTI.CH through play and we hope you’ll join us.  

Washing Machine Magazine is an independent, multimedia publication that showcases projects by creative professionals working in sound and image.   It is presented through two connected platforms: a printed publication and a website that integrates the print content through video and audio supplements. Every featured project reflects the contemporary age in its multi-faceted reality.   Art and media are explored where artists and designers communicate concepts, re-configure ideas, collaborate and combine different elements. Washing Machine Magazine features interviews with artists , multimedia content and examines the impact of innovative, digital tools and new processes on creative media today.   Issue 1 showcases emerging artists’ and designers’ projects that represent basic natural elements through digital media. In some projects visuals describe sounds, in some others sounds describe physical objects.   The first issue’s title ‘White Wash’ indicates not only purity, energy and freshness but also a starting point – a blank space to interact with.     info@washingmachinemagazine.com www.washingmachinemagazine.com facebook.com/washingmachinemagazine

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!

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.

On Friday May 24th we will be turning our back on Karaoke for a special, probably-not-one-off, event: GLTI.CH BREAKS Join us for unexpected beats and breaks in the first ever transglobal experiment to fuse vinyl scratches, Ethernet delays and Dalston skinny jeans! As you can see from our delicious diagram, GLTI.CH Breaks is a collaboration with several adventurous DJs who will mix vinyl LIVE between various cities around the world. Watch and gawp in awe as TramShed, DJing from London, mixes DJ Wax On, in Derby, straight into Sahn, live in LA…

(on saturday we tested some of these ideas out… a bonus very-shakey-video can be found above) In the spirit of time delays, infinite grooves and Skype decay, we will kludge together an energy-fuelled two-hour live DJ set, turning technical breakdowns into reasons to breakdown! We are really excited to be teaming up with curatorial wizards Christina Millare and Dee Sada, as well as a host of other technically minded creative megalomaniacal superstars. Featuring GLTI.CH Breaks from:

TramShed, DJ Wax On, Sahn, and OTHER DJs Yet TBC!!

with live performances, exhibitions and HAPPENINGS from:

The Bohman Brothers, Dog Chocolate, Ewa Justka, New Noveta, Lorah Pierre, Tom White

Enjoy the Breaks LIVE, 8pm – 2am, at Power Lunches (Kingsland Road, Dalston) or join us online on the night at: tinychat.com/gltich Tickets: £5 adv / £6 on the door Advance tickets available here: wegottickets.com/event/220669 - Facebook event invite thingy here: HAPPENING!

The Creators Project interview: Sing Glitchy Karaoke Over The Web: London-based conspirators Kyoung Kim and Daniel Rourke are on a mission to kludge and con the world into partaking in an internet-based, 24-hour karaoke marathon. We spoke to them to find out more about what that means, exactly. The Creators Project: How would you describe GLTI.CH in four words without using karaoke? GLTI.CH: Collaborative technological error wallowing. What exactly is GLTI.CH and what is it trying to do?GLTI.CH is about kludging. A kludge is a make-do solution to an immediate technical problem, like stopping a table from wobbling by folding a napkin and shoving it under one leg. It’s not a hack or some fancy programming. It’s looking at technology as a building block, not an end product. We’re wannabe hackers, but we’re amateur programmers at best. It approaches technology like Lego blocks and GLTI.CH Karaoke is the mishmashed world we make through play. We want to kludge people together, breach hopeless distances with cultural and technical make-dos. Karaoke has a liberating potential. Before it was about achieving the right notes or knowing the words by heart, but karaoke is about togetherness first and foremost. A pop song can become an emotional centre of gravity for the people in the room, even for a generation. So GLTI.CH is aiming to hijack that, to turn a “make-do” into a cherished moment. And GLTI.CH is also FUN. Especially when there’s beer. Lots of beer.