I am interested in innovative, creative uses and/or abuses of the Twitch streaming platform. Streamers who have used the platform as a creative medium, regardless of its (main) intention as a place for game streaming. Art and performance are what come to mind, but I am open to anything, either a single use case or a particular streamer who uses Twitch in an ongoing 'weird' way. My knowledge of Twitch is small, so I am limited on examples of what I mean... but the streamer 'Sushi Dragon' is doing super amazing things. Using the Twitch platform as a way for viewers to kind of 'programme' his dancing routines. Users respond in live chat, and the responses determine what music is played, filters drafted, and how Sushi Dragon is supposed to respond (and dance). The results are often hilarious.

For transdisciplinary artist Ani Liu, working in science and technology has provided a way for her to explore the intersection between research, culture, and implications of emerging technologies.

I want to compile a list of art works that used chance operations and/or randomness in their creation. I am keen to incorporate pre-20th century, non-Western works, and lots of works by female artists, but anything you can think of will be super helpful. Chance operations doesn't necessarily mean random, for instance, some Oulipo stuff fits. Like Georges Perec using the knight's move in chess to structure 'Life a Users Manual'. And chance doesn't have to mean the generation of a pattern or structure, for instance, Yoko Ono's 'Cut Piece' created the opportunity for chance events to take place that were hugely influential on how the work played out.

Works by John Cage, Alison Knowles, Stan Brakhage, Yoko Ono, Robert Filliou, Brian Eno, Burroughs/Gysin, Ewa Partum, Simone Forti, Nam June Paik, Cildo Meireles, Hans Haacke, Francis Alÿs, Jeremy Hutchinson, Daniel Temkin and others come to mind, as well as tonnes of Dada, Fluxus and computer generated work.

As I say, I am keen to move outside well known 'canonical' stuff, but really influential pre-20th century works would be particularly useful to know about. Also, any very early computer stuff. Thanks in advance!

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Nicolas Cage is one of the most versatile actors of all time.Nicolas Cage moves fruit to mouth with imperceptible motion.Nicolas Cage doesn’t usually like to admit his feelings.Nicolas Cage’s face hand painted on a denim jacket.Nicolas Cage was attractive in the 1980s.Nicolas Cage meant to steal the Declaration of Independence, But instead he stole her heart.Nicolas Cage can do anything you can do better.Nicolas Cage surfs with the emotions of others.Nicolas Cage has a way with words.YESTERDAY, I REPLACED ALL OF OUR FAMILY PHOTOS WITH NICOLAS CAGE’S FACE, AND MY PARENTS STILL HAVEN’T NOTICED.Keep Calm And Imagine Nicolas Cage Saying : “Mumbo Jumbo.”Nicolas Cage leaps out, cackling and howling at the moon.Nicolas Cage texts with no spaces.Nicolas Cage sings “Love Shack” by the B-52’s.Nicolas Cage’s Face on Every Character in ‘The Legend of Zelda: Majora’s Mask’.Nicolas Cage is looking at himself in a mirror right now.Nicolas Cage owns a 9-foot-tall pyramid in New Orleans and plans to be buried in it. But instead he stole her heart.Nicolas Cage stars as Nicolas Cage in: Nicolas Cage.Nicolas Cage smells like new born baby birds.Find out how Nicolas Cage handles his relationships and test what you and Nicolas Cage have going in love, marriage, friendship, partnership, dating and more.Sometimes at parties, two or more people ask Nicolas Cage questions at the same time.Nicolas Cage meets Shia Labeouf at the Oscars when competing in the same category. Shia Labeouf teaches Nicolas Cage how to ‘feel’.Nicolas Cage gets more than he bargained for during the new moon.Nicolas Cage sponsored by Crocs on Internet Explorer.Nicolas Cage isn’t affected by water, which shouldn’t be much of a surprise, since he isn’t a normal cat.Nicolas Cage Performs John Cage’s Silent Masterpiece, “4:33”.Nicolas Cage became the first person to ever check his email without a computer, But instead he stole her heart.Nicolas Cage is switching on the Christmas lights in Bath.“Some religious extremists speculate Nicolas Cage’s head is a hollow vessel that angels will occupy on Judgment Day.”Please don’t masturbate, Nicolas cage.Nicolas cage thinks YOU are a terrible actor.Nicolas Cage’s condition is caused by two magnetic poles.Nicolas Cage is on a plane full of convicts.Nicolas Cage developed his own acting method, and it’s called Nouveau Shamanic.Nicolas Cage rode a centaur through a local Woolworths demanding ‘all the midget gems’.Nicolas Cage is inspired by his pet cobra.Nicolas Cage Pisses Fire.Nicolas Cage is the pinnacle of all human achievement.Nicolas Cage was temporary President of Angola for six months in 1997.Nicolas Cage is at home, reading a new script and drinking coffee, when he, after a short period of time and a couple of sudden happenings, finds himself in Equestria, whereupon he is arrested. But instead he stole her heart.Tonight: Nicolas Cage WILL be here.When I die, throw pictures of Nicolas Cage into my grave.

[for In Media Res: mediacommons.futureofthebook.org/imr/] 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 livestream.com, 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: youtube.com/watch?v=KXPy0WtjfBg @manchester: youtube.com/watch?v=8-ARWTyWPXo @amsterdam: youtube.com/watch?v=W-2t1jB7YKw @chicago: vimeo.com/33420876 @camden: youtube.com/watch?v=pLDEHEJWqmE

Marina Abramović Goes

Glti.ch Karaoke in the flesh! This is a lecture, performance and intellectual escapade all rolled into one. Watch Daniel and Kyoung chat, fail, sing and fail some more. And the crowd go wild…

Check out some of the other, superb, glitchy lectures and performances, via YouTube and Flickr. And thanks once again to Antonio Roberts and everyone at Gli.tc/h for their incredible hospitality and FAILURE foresight.

Three years ago, Edge collaborated with The Serpentine Gallery in London in a program of "table-top experiments" as part of the Serpentine's Experiment Marathon . This live event was featured along with the Edge/Serpentine collaboration: "What Is Your Formula? Your Equation? Your Algorithm? Formulae For the 21st Century."

Hans Ulrich Obrist, curator of the Serpentine, has invited Edge to collaborate in his latest project, The Serpentine Map Marathon, Saturday and Sunday, 16 – 17 October, at Royal Geographical Society, 1 Kensington Gore, London SW7 2AR (Map).

The multi-dimensional Map Marathon features non-stop live presentations by over 50 artists, poets, writers, philosophers, scholars, musicians, architects, designers and scientists. The two-day event takes place in London during Frieze Art Fair week.

The event features maps by Edge contributors, and an Edge panel of Lewis Wopert, Armand Leroi, and John Brockman, on Sunday (17 October) 1:15pm-2:15pm.

The gallery is a work-in-prog

The upside-down values of the art world, popularly infamous, ridiculed, and resented, are by now the mark of the sphere itself, sufficient to establish the cynic’s principle that if you wish to succeed in the art world, do what you would never dream of doing in the real one. Take for instance Chris Burden’s 1971 performance piece Shoot, remembered in photographs with the artist’s dry captioning: “At 7:45 P.M. I was shot in the left arm by a friend. The bullet was a copper jacket .22 long rifle. My friend was standing about fifteen feet from me.” Burden was later awarded four grants by the National Endowment for the Arts; respected New Yorker critic Peter Schjeldahl calls him “pretty great.”

More recent in what has been named “ordeal art” was the late spring retrospective of Marina Abramovic at the Museum of Modern Art; an exhibition titled “The Artist is Present,” and the backdrop to a history-making endurance performance by Abramovic of the same name. For this, the longest performanc

gli.tc/h art in Chicago

This text was read out loud on the 21st November, as part of the Volatile Dispersal: Festival of Art-Writing, held at The Whitechapel Gallery Thanks must go to Maria Fusco and Francesco Pedraglio for asking me to take part…

In one of the most uncanny revelations in science fiction, the protagonist of H.G. Wells’ The Time Machine awakes from his anthropic slumber: the museum is filled with artefacts not from his past, but from his future. Like the Time Traveller it is easy to forget, that however hard we try to walk beyond a given path, we will always tend to inscribe another in our wake. ——– I discovered the ants trailing like gunpowder across my kitchen floor. Before I had time to think I had vacuumed up a thousand. Yet they kept coming, tending to resurge where last I had punished them; coursing like a rainless cloud on the exact same trajectory each time. ——–

The French tourist attraction Lascaux II is like the 1980 family movie Superman II because: 1. It’s a translation of archetypes, a kind of ode to idealism. 2. Some people claim that it is better than the original. 3. The special effects are dated, but they still pack a punch. 4. It cost millions to produce. 5. All it is is editing. In 1963 Lascaux cave, a network of subterranean tunnels scrawled with some of the earliest known Upper Palaeolithic human art, was closed to public scrutiny. Since its discovery in 1940 around a thousand visitors had trampled through the site per day, bringing with them a toxic mix of exhaled CO2 and greasy, groping fingers. In 1983 the Lascaux II replica was opened to the public. The tourist attraction contains a faithful recreation of the textured surface of the original cave upon which 75% of the precious art has been meticulously copied. In the late 1970s Richard Donner, a talented director best known for his earlier film The Omen, was fired by the producers of the Superman franchise. Donner’s attempt to craft and create two Superman movies back to back had become hampered by production disagreements. A new director, Richard Lester, was drafted in to piece together the unfinished second film from remnants that Richard Donner had left scattered on the cutting-room floor. Lester’s Superman II was released in 1980. Richard Donner’s name was absent from the credits. The original Lascaux cave rests in darkness again now, killing the time its simulation has reclaimed from toxic breath and greasy, groping fingers. The addition of a ‘state-of-the-art’ air conditioning system to the Lascaux complex is thought to be responsible for a virulent, black fungus now invading the site. Experts are looking for a solution to the new problem they helped introduce. Richard Donner finally released a ‘faithful’ version of Superman II in late 2006, a version for which Richard Lester received no credit. The two films contain around 75% of the same material, in vaguely different orders. ——– Somewhere unseen to me a billowing sack of protoplasm with the head of a Queen was giving birth to its hundredth clone of the day. But unlike its brethren this clone would never grow towards the daylight. A dark shroud of worker ants would drag poison into its womb: a deadly meal upon which the nest would feast. ——–

Most fire ant bait is an insecticide and an attractive ant food combination made up of processed corn grits coated with soybean oil. Baits are taken into the colony by ants searching for food. The bait is distributed to other members of the colony through the exchange of food known as trophallaxis. Although several fire ant baits are available, there are two main types: insect growth regulators and actual toxins. Hydramethylnon bait is a toxin that disrupts the ant’s ability to convert food to energy. Spinosad bait is a biorational toxin derived through the fermentation of a soil dwelling bacteria. Abamectin, the toxin in Raid® Fire Ant Bait is also the result of the fermentation of soil dwelling bacteria. Fipronil bait disrupts the insect’s nervous system through contact and stomach action. Fenoxycarb, or methoprene, and pyriproxyfen are all insect growth regulators that prevent queens from producing new workers. One key to the efficiency of baits is that the insecticide gets to the queen. 1 ——– In my local supermarket was an aisle devoted to domestic murder. Sticky traps infused with cockroach friendly aromas; circular baiting baths filled with a saccharine mosquito-drowning dew. Tablets for prevention, sprays for elimination and piles of bug-nets, bug-bats, bug-bombs and bug-poisons. ——–

In a central scene from the 1991 film, Terminator II, Sarah Conner attempts escape from the high-security asylum in which she has been incarcerated. For a patient, deemed to be dangerously unstable, an asylum is a rigid tangle of limits, barriers, locked-doors and screeching alarms. Sarah Conner’s escape is notable because of its affirmation of the paths of the asylum. Far from moving beyond it, Conner uses the rigidity of the system to aid her movement through the building. From the very beginning of the scene Conner’s dancing feet, her balletic violence, inscribe into the constraints of the asylum a pattern of the purest desire. A paper-clip, a broom and a container of bleach – all systematic of order and closure – become in turn a lock-pick, a weapon and a kidnapping ploy. A key, usually a symbol of access and movement between limits, is snapped in its lock and instantly becomes a barrier. Only upon the arrival of The Terminator and her son, John, does Sarah’s freedom over the asylum finally ebb back towards the traditional limits of fear and isolation.

——– I bought a box of Raid ant bait. The compound eyes and hideous mandibles of a cartoon ant stared back at me from the package. This caricature, designed to demonise the ants, instead expressed their human-like determination. A determination that I would use against them. A determination bound up and offered to them like a spoonful of Trojan horses. ——–

Though the radiation from kryptonite is detrimental to all life, it is especially harmful to Kryptonians such as Superman. Kryptonite is the ore of kryptonium, and usually has a green hue. Although, in its red form, kryptonite is perhaps at its most unpredictable. Red kryptonite turned Superman into a powerless giant and a dwarf. Turned him into a terrifying Kryptonian dragon. Red kryptonite drove Superman insane for a period of forty-eight hours. Made Superman unable to see anything green; grow incredibly long hair, nails, and beard. Grow fat; gain the ability to read thoughts; grow a third eye in the back of his head. Lose his invulnerability along the left side of his body. Split into an evil Superman and a good Clark Kent. Become apathetic. Be rendered unable to speak or write anything but Kryptonese. Grow an extra set of arms. Become clumsy. Swap bodies with the person nearest him. Transfer his powers. Rapidly age. Go through multiple personality changes. And have his skin rendered transparent overloading him with solar power. Red kryptonite made flames shoot out of Superman’s mouth and endowed him with the power to make his wishes come true. Red kryptonite transformed Superman into an infant with the mind of an adult. Robbed Superman of his super powers and afflicted him with total amnesia. Red kryptonite once endowed Superman with the head and antennae of a giant ant.2

——– I set down the bait, causing the trail of ants to divert and invert. After a few moments of disorder the nest plotted a new trajectory: the black cloud bleeding into yellow poison. Ants never anticipate. They only creep onwards, solving each problem as it comes to them. Surviving because survival is what ants do. ——–

It is written that when the Maya people of The New World were first set upon by the Spanish cavalry it was spiritual confusion that hastened their demise. To their eyes the seething onslaught of man and horse was made of but one, new and terrifying, species of creature. In the West we might call these creatures Centaurs: liminal entities fused of two distinct species. To the Maya the border between God and beast was breached by the Spanish invaders, truly alien beings who in all but one generation would subsume the Maya under a wave of technology, disease and colonial ascent. At the time these stories first made their way across the Atlantic ocean the Mayan Centaurs would have been seen as examples of a primitive world view. Today we tend to believe we have a clearer conception of history, one not marred by colonial aspirations or archaic stereotypes. And yet, like Edwin Hubble, staring out at an ever expanding universe, the more we examine these events the more they seem to accelerate away from us. Like the Maya we are constrained by our perceiving eye, by the cultural reservoir within which our imaginations swim. It is as though the very fidelity of reality is determined at its point of viewing, that in some sense we will always see Centaurs where really there sit men on their horses. ——– By morning the upturned plastic mushroom was empty of its poison, as piece by piece the ant bait had been dragged, carried and manoeuvred into the nest. In places a fine yellow dust now stained the kitchen’s cracked linoleum. A dust composed of corn grits soaked with delicious, deadly poison.

1 Extracted from University of Arkansas web archive: http://tinyurl.com/6xzob2

2 Dialogue text compiled from online sources: wiki.superman.nu/wiki/index.php/Red_Kryptonite, en.wikipedia.org/wiki/Kryptonite & supermanhomepage.com/comics/comics.php?topic=comics-sfaq#Q34

The Known Unknowns is a scheduled cycle of continuous readings running parallel to Volatile Dispersal: Festival of Art Writing, an evening organised by Maria Fusco and Book Works at Whitechapel Gallery.

The festival reflects on the materialisation and dematerialisation of art writing through six newly commissioned works by Adam Chodzko, Ruth Ewan, Babak Ghazi, Beatrice Gibson, Nathaniel Mellors and Gail Pickering.

The aim of The Known Unknowns is to gather an interesting number of contributors to publicly read extracts or entire sections of their own texts.

The fluidity and the continuity of the act of reading-aloud will unveil a focus on both the singular texts and the whole reading as a unique entity.

This constant balance between singularity and plurality will also produce an interesting tension with the six commissioned intervention happening around the Whitechapel Gallery.

The Known Unknowns

21 November 2009 - Whitechapel Gallery

First Section (6.30-7.30)

Intro

• Neil Chapman

• Jeremy Akerman

• Ruth Beale

• Katrina Palmer

• Clare Gasson

• Hilary Koob-Sassen

• Nick Thurston

Second Section (7.45-8.45)

• Laure Prouvost

• Jamie Shovlin

• Reto Pulfer

• Ruth Höflich

• Daniel Rourke

• Sally O’Reilly

Third Section (9-10)

• Anna Barham

• Matt&Ross

• NaoKo TakaHashi

• Brighid Lowe

• antepress

• Stewart Home

Saturday 21 November, 6pm

Until 11pm

Showcasing UK artists and writers, this parley-based event speculates on the materialisation and dematerialisation of art writing through newly commissioned works, together with readings drawn from open submission. The event is hosted by Maria Fusco with Book Works and structured around issue three of The Happy Hypocrite, themed ‘Volatile Dispersal: Speed and Reading’. A specially produced publication is available on the day, published by Book Works.

New commissions include a lecture, readings, performances and installations by Adam Chodzko, Ruth Ewan, Babak Ghazi, Beatrice Gibson, Nathaniel Mellors, and Gail Pickering, together with The Known Unknowns, a cycle of readings organised by Francesco Pedraglio, including antepress, Jeremy Akerman, Anna Barham, Ruth Beale, Neil Chapman, Clare Gasson, Ruth Höflich, Hilary Koob-Sassen, Stewart Home, Brighid Lowe, Matt&Ross, Sally O'Reilly, Katrina Palmer, Laure Prouvost, Reto Pulfer, Daniel Rourke, Jamie Shovlin, Naoko Takahashi and Nick Thurston.

Download a copy of the festival programme here 

Schedule

Ground Floor – Gallery 2

6.00 – 7.45 pm, 8.05 – 8.45 pm, 9.20 – 10.00 pm
BABAK GHAZI
Lifework: Documents
Installation

7.45 – 8.05 pm
GAIL PICKERING
The Revolutionary Costume For Today
Performers: Catherine Ashton, Gedvile Bunikyte,
Sebastian Truskolaski

8.45 — 9.20 pm
BEATRICE GIBSON
A Vertical Reading of B.S. Johnson’s House Mother Normal
Performers: Josette Chiang, Beatrice Gibson,
Catherine Hawes, Jennifer Higgie, Will Holder,
Jacqueline Holt, Lupe Nunez-Fernandez,
Jamie McCarthy, Mike Sperlinger

Floor 1 A – Foyle Reading Room

7.00 pm, 7.30 pm, 8.00 pm, 8.30 pm, 9.00 pm
RUTH EWAN
A Child’s Catechism
Performers: Jordan Cummins and Mohammadur Rahman
Duration: 5 mins

Floor 1 B – Galleries 5 & 6

6.00 — 11.00 pm
Bar

6.30 — 7.30 pm
The Known Unknowns
Cycle of readings organised by Francesco Pedraglio
Neil Chapman, Jeremy Akerman, Ruth Beale, Katrina Palmer,
Clare Gasson, Hilary Koob-Sassen, Nick Thurston

7.45 — 8.45 pm
The Known Unknowns
Laure Prouvost, Jamie Shovlin, Reto Pulfer,
Ruth Höflich, Daniel Rourke, Sally O’Reilly

9.00 — 10.00 pm
The Known Unknowns
Anna Barham, Matt&Ross, NaoKo TakaHashi,
Brighid Lowe, antepress, Stewart Home

10.00 — 11.00 pm
Launch of The Happy Hypocrite: A Rather Large Weapon
Contributors: Bernadette Buckley, Jeff Derksen,
Candice Hopkins, Anthony Iles, Daniel Kane,
Yve Lomax, Robert Longo, Sean Lynch, Laura Oldfield Ford,
Luke Pendrell, Rachelle Sawatsky, Mark Von Schlegell, Natasha Soobramanien, Nick Thurston

Floor 2 – Study Studio

6.00 – 10.00 pm
NATHANIEL MELLORS
The Preface
Installation

Floor 3 – Clore Creative Studio

6.30 — 7.30 pm
ADAM CHODZKO
Longshore Drift
Lecture / performance

In association with: The Happy Hypocrite, Book Works, supported by Arts Council England, The Elephant Trust and the Department of Art, Goldsmiths, University of London.

Free, no booking required.

Holly Pester is a performance poet currently working on a project with the Barry Museum in Manchester. I, raven, the is about the relationship between words and sound, and the title itself inevitably brings to mind Edgar Allan Poe’s The Raven, in which the refrain “Never More” reads increasingly, as the poem progresses, as less like words and more like sounds.

Pester’s poem attempts to capture the “shape of words” and as she reads, her mouth contorts into shapes. The result is a series of sounds from everyday life that seem disconnected from the actual meaning of the words. “The sound is a square” is a constant refrain, and Pester duly shapes her mouth like a square, producing a churned-up sound. Words rhyming or related in sound to square (such as war) are similarly chewed over and mangled. Pester says of the poem’s protagonist that he “is concerned with the physical world ”, while the sounds of the physical world invade the piece, with growls and pips emerging from Pester’s mouth th

A collaborartion between Joshua Kaye (composer) and Holly Pester (poet and text artist)

Presidents Birds and Even

At the conception of this project Kaye and Pester created a system of exchange and translation, developing shared concerns for chance operations, periphery speech sounds and the thrill of live performance. By trading sound, text and image material, they allowed the piece to workshop itself out of their (re)interpretation and (mis)translation. Kaye and Pester have engendered not only a musical score, but a hypertextual network of graphic notation, sound poetics and a prolific collaborative partnership.

The piece works as a triptych, with each instant both setting Pester’s text and also conceptually representing each visual poem. The piece is also interspersed with rhythmic interludes.

Baritone – Alex Garziglia

Percussion 1 – Catherine Ring

Percussion 2 – Louise Morgan