MachineMachine /stream - tagged with noise en-us LifePress <![CDATA[“The wilderness in the machine”: Glitch and the poetics of error | CHRISTINA GRAMMATIKOPOULOU « Interartive | Contemporary Art + Thought]]>

Grand Wizard Theodore Scratching Bodies and machines are defined by function: as long as they operate correctly, they remain imperceptible; they become a part of the process of perception, as the extension of the action that engages the Self with the world.

Thu, 03 Dec 2015 14:39:15 -0800
<![CDATA[Live AV performance registration: Beyond Resolution (2015)]]>

Live AV performance registration that I did during Syndrom 3.X @ Static Gallery, Liverpool, January 2015. Featuring some video images by Alexandra Gorczynski, and my remixed sounds from the track Professional Grin by Knalpot. Sound mastering by Sandor Caron.

Tue, 21 Apr 2015 12:42:58 -0700
<![CDATA[The Ghost in the MP3]]>

The MPEG-1 or MPEG-2 Layer III standard, more commonly referred to as MP3, has become a nearly ubiquitous digital audio file format. First published in 1993, this codec implements a lossy compression algorithm based on a perceptual model of human hearing.

Wed, 18 Feb 2015 14:28:02 -0800
<![CDATA[The creepy beauty of VCR errors]]>

All images by Corey Johnson. This article contains flashing images. Digital technology can be very boring at times. There's no room for error.

Wed, 18 Feb 2015 14:27:55 -0800
<![CDATA[Proxy Politics: Signal and Noise | e-flux]]>

A while ago I met an extremely interesting software developer who was working on smartphone camera technology. Photography is traditionally thought to represent what is out there by means of technology, ideally via an indexical link.

Thu, 11 Dec 2014 12:03:15 -0800

A RAWtunes extrusion by Alex Myers from noises by Daniel Rourke and iTunes™ Part of a series forthcoming at the Run Computer Run exhibition, Rua RedCast: aandnotaTags:

Mon, 13 May 2013 08:32:06 -0700
<![CDATA[RAWerTUNES10dotEXE [3Dude Remix]]]>

My homage to iTunes 10 has been transcoded and extruded into another iteration! A collaboration with Alex Myers. You can hear, see and 3D print it at your own great expense in the forthcoming Run Computer, Run exhibition, Rua Red, Dublin.

DANIEL ROURKE + ALEX MYERS Daniel Rourke is a writer and artist. His work explores error, noise and kippleisation through words, sounds, performance and whatever ideas are to hand. He is one half of GLTI.CH Karaoke, an experimental performance platform exposing the course of accidents, temporary lyrical disjoints & technical out-of-syncs. Daniel writes regularly and He is currently undertaking a practice-based PhD in Art and Writing at Goldsmiths, University of London. / twitter @therourke Alex Myers makes artgames to explore how accidental meaning/anomalous discourse emerges by breaking rule-based game spaces to disrupt player expectations and concepts. He is an Assistant Professor and Director of Game Studies at Bellevue University. Alex has exhibited at NP3 in Groningen,Nikolaj Kunsthallen in Copenhagen, Lab for Electronic Art and Performance, Berlin, Interaccess in Toronto, FACT in Liverpool, and LACDA in Los Angeles. / twitter @aandnota

Mon, 13 May 2013 08:08:51 -0700
<![CDATA[NonEndianA RAWtunes extrusion GIFbited by Alex Myers from...]]>

NonEndian A RAWtunes extrusion GIFbited by Alex Myers from noises by Daniel Rourke and iTunes™ Part of a series forthcoming at the Run Computer Run exhibition, Rua Red

Want to take part in future episodes? : Submit a GIFbite

Fri, 10 May 2013 03:23:33 -0700
<![CDATA[there's a huge noise in the middle of this: the ha[ng]ppenings of Karaoke]]>

[for In Media Res:] Kyougn Kmi and Daniel Rourke [collectively known as GLTI.CH Karaoke ] facilitate happenings where participants are invited to sing karaoke duets with one another. Breaking from tradition, participants are paired with partners halfway across the world, singing together over the Internet. “Using free versions of Skype, YouTube and collaborative web software, we orchestrated duets between people who had never met each other, who didn’t speak the same language, bypassing thousands of geographic miles with glitchy, highly compressed data and a little bit of patience.” [ GLTI.CH Karaoke, from their website ] At these ha[ng]ppenings Kmi and Rourke go to great lengths to avoid glitches + delays + drops [having been present at a few I can attest to this] while trusting in the network’s unreliable signal to not render their name [GLTI.CH] innapropriate. src footage [in order of appearance]: @birmingham: @manchester: @amsterdam: @chicago: @camden:

Sun, 03 Feb 2013 03:40:34 -0800
<![CDATA[A Shot to the Arse]]>

I have some work in A Shot to the Arse, an exhibition coming August 14th at Michaelis Galleries, Cape Town. Many thanks to Belinda Blignaut!

Wed, 08 Aug 2012 01:50:00 -0700

Last year I released a music single through iTunes. Entitled RAWTunes.exe 10.4.2, it was my first forray into sound-art/noise-art. I AM a popstar. I am proud to announce the release of my 8 track album RAWTunes.exe 10! You can listen to a selection of tracks below (making sure that all small children and dogs are at a safe distance), or buy the whole lot for £7.99: RAWTunes.exe 10 by machinemachine It took me about 20 minutes to make this album. Here’s how you can do it yourself:

Using a program like Audacity, open ANY file as RAW data Choose your conversion method The file you send to iTunes and release to the world MUST be in this format: 16 bit (sample size), 44.1 kHz (sample rate), 1411 kbps (bit rate) stereo wav So, after playing with your file (or not doing anything in particular) export it with these options Using a service like TuneCore, release your album to the world Become a famous Noise artist like me

I chose to convert a series of iTunes executable files, each one plucked from a long list of releases under the iTunes 10 label, but you can choose anything. Have a look on Souncloud for a bunch of people who have done just this. This is ‘art’, so of course my work has to be critically engaged, and self aware. Thankfully, iTunes regulations make this really easy: Content that is not produced by Apple Inc. must not include the word “iTunes” anywhere in the metadata or cover art. I would argue that the content of my album is 100% ‘produced by Apple Inc.’ but they wouldn’t let me call it ‘iTunes.exe 10′. It was only after several iterations of cover art that the album was allowed into the Apple store. These are just some of the woes that a true Noise artist must suffer in the pursuit of their art.

Mon, 23 Jul 2012 03:06:00 -0700
<![CDATA[Sloppy MicroChips: Oh, that’s near enough]]>

Letting microchips make a few mistakes here and there could make them much faster and more energy-efficient.

Managing the probability of errors and limiting where they occur can ensure that the errors do not cause any problems. The result of a mathematical calculation, for example, need not always be calculated precisely—an accuracy of two or three decimal places is often enough. Dr Palem offers the analogy of a person about to cross a big room. Rather than wasting time and energy calculating the shortest path, it’s better just to start walking in roughly the right direction.

Tue, 05 Jun 2012 09:18:58 -0700
<![CDATA[Peter Krapp: Noise Channels: Glitch and Error in Digital Culture (2011)]]>

To err is human; to err in digital culture is design. In the glitches, inefficiencies, and errors that ergonomics and usability engineering strive to surmount, Peter Krapp identifies creative reservoirs of computer-mediated interaction. Throughout new media cultures, he traces a resistance to the heritage of motion studies, ergonomics, and efficiency, showing how creativity is stirred within the networks of digital culture.

Wed, 23 May 2012 09:46:17 -0700
<![CDATA[Is Chernobyl a Wild Kingdom or a Radioactive Den of Decay?]]>

The pine trees framing the entrance to the forest appear to be normal. Unremarkable. But the crackling dosimeter says otherwise. On this freezing February afternoon, about 2 miles from the concrete sarcophagus that now entombs the number four reactor at the Chernobyl nuclear power plant, Gennadi Milinevsky, a physicist from a university in Kiev, walks along a path carpeted with pine needles and patches of recent snow. The size of a transistor radio, the dosimeter emits a sharp click when it detects a radioactive particle. Milinevsky waves the instrument: Its digital readout indicates levels of radiation 120 times higher than normal. As he walks, the staccato popping gets faster as the levels climb to 250 times higher than normal. “It’s not good,” he says. He ventures toward a wide clearing littered with the trunks of dead trees. Milinevsky suggests stopping the tour here. On the far side of the clearing, he knows, the dosimeter will begin to make a sound no one wants to hear: a terrifying snowstorm of screeching white noise, indicating highly toxic levels of gamma radiation some 1,000 times above normal.

Fri, 20 Apr 2012 07:36:29 -0700
<![CDATA[Madmen Bittorrent Edition]]>

Video comprising one episode of Madmen incompletely downloaded from the internet via bittorrent. The video has been linearly edited, no digital effects were used and all jump cuts and repeats are in the corrupted file. The video captures an episode of the popular TV show in the act of being shared by thousands of users on bittorent. The video simultaneously acts as a visualisation of bittorrent traffic and the practice of filesharing and is an aesthetically beautiful by product of the bittorrent process as the pieces of the original file are rearranged and reconfigured into a new transitory in-between state. It also avoids infringing the copyright of Madmen as it is incomplete. Best watched fullscreen.

Sat, 14 Apr 2012 18:01:40 -0700
<![CDATA[Arthur Schopenhauer on Noise]]>

This aversion to noise I should explain as follows: If you cut up a large diamond into little bits, it will entirely lose the value it had as a whole; and an army divided up into small bodies of soldiers, loses all its strength. So a great intellect sinks to the level of an ordinary one, as soon as it is interrupted and disturbed, its attention distracted and drawn off from the matter in hand; for its superiority depends upon its power of concentration — of bringing all its strength to bear upon one theme, in the same way as a concave mirror collects into one point all the rays of light that strike upon it. Noisy interruption is a hindrance to this concentration. That is why distinguished minds have always shown such an extreme dislike to disturbance in any form, as something that breaks in upon and distracts their thoughts. Above all have they been averse to that violent interruption that comes from noise. Ordinary people are not much put out by anything of the sort. The most sensible and intelligent of all nations in Europe lays down the rule, Never Interrupt! as the eleventh commandment. Noise is the most impertinent of all forms of interruption. It is not only an interruption, but also a disruption of thought. Of course, where there is nothing to interrupt, noise will not be so particularly painful. Occasionally it happens that some slight but constant noise continues to bother and distract me for a time before I become distinctly conscious of it. All I feel is a steady increase in the labor of thinking — just as though I were trying to walk with a weight on my foot. At last I find out what it is.

Tue, 13 Mar 2012 04:20:24 -0700
<![CDATA[The New Bleak: Trauma, Haunting And The Cultural Obsession With Darkness]]>

Perusing the avalanche of best-of lists leading up to the New Year, the most interesting releases seemed to me to be of the sluggish and spooky sort. (Sometime in mid-November, it got to the point that I seriously started suspecting records marked as 33rpm.) Upon its release (on Valentine’s of all days) Pitchfork’s Joe Colly described Tim Hecker’s Ravedeath 1972 as “a dark and often claustrophobic record” that “is by no means about prettiness or tranquility.” Rip Empson of XLR8R called Hype Williams’ One Nation “the musical expression of a 48-hour sleepless walkabout.” Brian Kolada’s Resident Advisor review of Raime’s Hennail ep notes the prevalence of “darkened pools of reverb” summoning “a gloomy horror-flick vibe.” George Bass of Drowned In Sound portrayed Andy Stott’s recent works as “dark, twisted house”. Abeano’s Rhian characterized The Haxan Cloak’s music as “creepy”, “eerie”, and “bewitched”. Massive Attack and Burial’s “long dark collaborative effort” invokes “the gloomiest moments ever”, according to Sam Hockley-Smith of The Fader. Charlie Hale wrote in the pages of the Quietus of how Oneohtrix Point Never’s Replica opens on a heavenly note before it “dives off to somewhere far darker”. And looking toward promising upcoming recordings from moody labels like Kranky, Hyperdub, Tri Angle, and Blackest Ever Black, there’s not much light glimmering at the end of the tunnel. All of this begs the question: why so glum, chums?

Wed, 29 Feb 2012 02:37:08 -0800
<![CDATA["Models of communication are…not merely representations of communication but representations for..."]]>

“Models of communication are…not merely representations of communication but representations for communication: templates that guide, unavailing or not, concrete processes of human interaction, mass and interpersonal.” - James Carey, Communication as Culture: Essays on Media and Society

The Shannon and Weaver Model - The Late Age of Print

Mon, 20 Feb 2012 07:21:08 -0800
<![CDATA[Cross-section of a tree played like a record on a turntable]]>

This music -- which sounds like a moody piano soundtrack for a existentialist movie about a rainy day -- is made by slicing a tree in cross-section, sticking it on a turntable, and dropping a tone-arm with a PlayStation Eye Camera in the head, and processing its output through Ableton Live. It's called Years, and it was created by Bartholomäus Traubeck.

Thu, 19 Jan 2012 07:54:06 -0800
<![CDATA[On the trail of the wild and wonderful @Horse_ebooks]]>

Horse_ebooks is having a moment.

Of the accounts that follow me on Twitter, half are spambots. About 15% are companies or organizations whose social media interns found me on a list somewhere, and another 15% are something in between: not definitely bots, but not exactly humans. Whatever they are, they're not "listening" in any meaningful sense. Among the remaining group are some people I like, some people I like a lot, some people I don't know, and a bunch of technology PR professionals who don't really have a choice.

Tue, 10 Jan 2012 06:06:45 -0800