___________
Rose Menkman
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Glitch first came into my life in 2005, when I visited the world wide wrong exhibition by the Dutch/Belgium artist collective Jodi (Joan Heemskerk and Dirk Paesmans) at Mon- teVideo/Time Based Arts in_Amsterdam (now known as the NIMK, Netherlands Media Art institute). An introductory text on the work of the artists by Annet Dekker went a long way in articulating the artists deconstructive methods._However, the work that made the biggest impression on me, untitled game (1996-2001), which was a modification of the videogame quake 1, seemed the most incomprehensible. I could only understand it as irrational and void of meaning, and so I walked away from it, confused and titillated. In hindsight, I learned about myself in that moment –about my expectations and concep- tions of how a videogame should work. The strange game seemed only to return me to my own perspectives and expectations around the medium that it was failing to be. A second text by Josephine Bosma usefull outlined Jodi’s active deprogramming of computers, and the paradoxes and tensions inherent to their working method. Even still, untitled game in particular remained for me under-articulated in theory, which increased my curiosity about this kind of art practice. I did not realize it then, but my taste for glitch, and for it’s potential to interrogate conventions through crashes, bugs, errors and viruses, was spawned by that initial and persistent critical evasion of untitled game from my theoretical grasp.
Excerpted from the introduction to The Glitch Moment(um)
Works
Collapse of Pal
Radio Dada
Poem to Mr. Compression
Dead people are less scary than live ones
_________
Barry Doupé
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At the beginning there is a blonde girl, looking at us out of a picture frame. Black ink is flowing from her mouth and eyes. Surrounded by unnatural noises, the scene distorts. A female voice on the radio repeats the words “far away,” like a mantra. In his first feature-length animation, Barry Doupé creates a bewildering collage of rudimentary scenarios for his Sims-look-alike characters by stringing together loose sequences, without following chronological order. But even with a broken space-time continuum, the film follows a steady, covert process, parallel to the ocean, one of the film’s main settings. At points, flashbacks, sudden screen changes and rewinding of the film spool destroy the slow rhythm of the work, fracturing its unity, and making it difficult to follow a storyline. However, even if only a few scenes are consequentially connected you can sense a flow toward an undefined purpose.
Excerpted from Ponytail
Works
Ponytail
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The Colors that Combine to Make White are Important
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Thale
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Whose Toes
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___________
Christian Hidaka
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Christian Hidaka paints fantastical landscapes in saturated, eye-popping color, filled with dreamlike vignettes. In his signature style, Hidaka combines Western and Eastern landscape painting conventions, also drawing influence from the psychedelic writings of Terence McKenna. History meets the contemporary and the futuristic in Hidaka’s works: he punctuates a biblical desert vista with square bodies of water that look like swimming pools, or mixes mountains and rivers with rainbow portals that suggest passage to alternate universes.
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*
p.s. Hey. Today, masterful writer, visualist, and d.l. Hyrule Dungeon offers you an entryway into the makings from three very terrific artists of his experience's acquaintance, and please follow his leads because, as you'll see, they're very smart and generous. Thank you, and thank you a ton, HD! I'm off to Strasbourg shortly where I'll be doing a performance thing and a talk re: 'Jerk'. What this means for you is that, tomorrow, when I'll be heading back in Paris's direction but even earlier in the day, the blog will launch a rerun post that I hope you'll like (again), and there won't be a living, breathing p.s. A new post and the full-bodied p.s. will be back here on Saturday, and I'll catch up with your comments then. ** Misanthrope, First I look out the window and see what the people walking in the park below are wearing. If their clothing isn't consistent in its density, I open the window and feel the air. Then I dress appropriately and walk out the door. So, I guess I'm a weather checker, ultimately. 14 degrees, yeah, cold, but we're at or below that level almost every day here, so, I don't know, shrug? Yeah, so tough, post-funeral, and, yeah, checking in with David for a while is a real good idea, you good guy. ** Scunnard, Exactly the story here except with Haribo bags instead of Kebab wrappers. Thank you re: Strasbourg. Hope so. May your everything stay smooth for the next 48. ** David Ehrenstein, Hi, D. As far as I've read, co-writing the new Noe film with your fave Bret is Gus's project du jour. We'll see. ** Tosh, Hi, Tosh. Thanks. Milk 'n' Cookies is a real speciality thing, I think. You have to get into the purposeful self-conscious and ick factor, but I like the artifice. You might try Ian North's solo stuff. It's less art-thick, and it can get pretty dark. Cowboys International, whoa, yeah. I haven't thought of them in ages. I'm going to do a revisit right away. Fantastic that you're through the third draft! And that you think you might spend more time here is, of course, completely musical to me. You're missed here too, T, muchly. ** Sypha, Congrats on reaching the back cover of IJ'! Oh, that's cool that you're noting the books you've read that are on my list. Or lists. Hunh, I should figure out the differences between the two lists. I forgot that I did a revision. ** 5STRINGS, Hey. Ah, yeah, I know you and your fantasies, no problemo and quite the opposite. I've got mine, as you and everybody knows, but they're NSFW, and I think that some part of me thinks of the p.s. as my W for some reason. Yoga's good for taking weight off, I think. And I think it's a good way to get exercised without grossing your body up with overt musculature. The best thing about vegan is that you feel like you're on speed but your teeth don't grind. Lemonheads, ha. There are, like, four songs of theirs I used to really like, and probably still do, but I can't remember their names. ** Chilly Jay Chill, Hi, Jeff. Welcome back. Awesome about the rehearsals. Just the idea of you rehearsing at the Performing Garage is so rich. Man, that place, so much genius-containing. I think the 'Pyre' book will be bilingual, in French and English, so, in France, they can read the French translation, and everywhere else, they'll have to make do with the English. It might be that if, say, there ends up being a healthy tour in, say, German speaking countries, we might print a German version. Don't know yet. Not sure how it'll be, length-wise, in print. In mss., it's 16 pp., single spaced, 12 pt. Apologies if I've explained this before, but the text/book for 'The Pyre' is also the first section of my George novel, although the two versions are quite different. I wrote it with the two goals simultaneously in mind, using the emotion and content of my relationship with George as the resource, and using the 'demands', i.e. the characters and storyline of the theater piece as a structuring device. In the theater version, the conceit of the text is that the boy in the piece wrote the text years later about his relationship with the woman in the piece, and in the novel version, it's me writing about George. So, there are deep similarities and surface differences between the two texts. Hard to explain, I guess. Anyway, the theater piece's goals definitely impacted the text's build and organization, and the novel's demands probably impacted the text just as much. Thanks for asking, man. ** Billy Lloyd, Hi. I own hiking boots, but I'm from California where people usually have them in their shoe arsenal due to the whole 'going out for hikes' thing occasioned by living near so much nature. But here, in the winter, I only pull them out when the sidewalks threaten falls and broken bones at every turn, which is almost never. Very happy to hear your feet were firmly planted yesterday. We might get 'The Pyre' to London. It's 'in discussion'. It's a money thing. It's always a money thing. Money for bringing in semi-expensive theater made by less than giant theater stars in the UK is hard to come by. Oh, cool, Paris might be on your agenda! Definitely let me know, if you come. I can do my best to show you or point you at the cool things I know and have found here, and, obviously, it would fantastic to meet. Really, really happy to hear about your hope and motivation. Those things are so totally key. Really key, and really important, and crucial even. Me too. I'm feeling all happy and motivated right now. So nice, right? Keep yours, and I'll keep mine. Deal? ** Steevee, Like I was saying to Tosh, Milk 'n' Cookies' thing is kind of demanding in its way, and they've always irked as much as attracted, which I kind of like about them, but yeah, I hear you. You found The Quick CD, I see. Their best stuff by far post-dated the LP, and has been gathered on a CD now. The LP is cool, but they evolved into quite a genius pop band, unfortunately too genius and too ahead of the curve to ever get signed up to a major label again. ** _Black_Acrylic, Hi, Ben. I didn't realize that MS could be treated with antibiotics. I guess it makes sense, but I hadn't imagined that. Yes, certainly, huge hopes that they help a lot. ** Cobaltfram, Hi, John. I knew Jeremy a bit, and, even though there's no physical resemblance per say, I think Gosling could play him pretty well. Gosling is quite a good actor. More edits, yeah. Sounds pretty normal for that kind of circumstance, based on the experience of friends who've sold books on proposal. I only did that once, as I'm sure I mentioned, and it was a trek getting the proposal to meet whatever standards that my agent thought were required of fishing Editors. Good luck, hang in there. No surprise to me that those 70s masters interest you so much. What's not to love and admire there, you know? On the novel, I'm very slowly nearing the end of the big middle section. Then I'll have to write the all-impiortant final part. So, I've still got a ways to go, but I'm further along than not. ** Anonymous, Yep, can't explain it, but yep. Oh, got your email. Great stuff! I'll get back to you once I'm through with the traveling/ performing madness. Thank you! ** Rewritedept, Thanks a lot, man! The Primavera line-up is really something, yeah. And it's not all that far away from me, so I'm definitely pondering attendance. You should get a passport. It's very useful to have, psychologically if nothing else. Thank you, bud, about 'TAGP'. That's a favorite thing of mine. Well, you need to make sure in your will that you pick an executor of your estate that will protect your work's best interests so you stuff doesn't fall under the control of someone like Courtney Love, basically. Burning your bad stuff, yeah, I get it. I keep everything. I'll find little jewels I can use years later sometimes even in the seemingly worst shit. ** Okay. I'll go zip my backpack shut and walk over to the train station now. Please enjoy the fruits of Hyrule Dungeon's superb taste in art. The blog will see you again tomorrow, and I will see you again on Saturday.
Rose Menkman
Glitch first came into my life in 2005, when I visited the world wide wrong exhibition by the Dutch/Belgium artist collective Jodi (Joan Heemskerk and Dirk Paesmans) at Mon- teVideo/Time Based Arts in_Amsterdam (now known as the NIMK, Netherlands Media Art institute). An introductory text on the work of the artists by Annet Dekker went a long way in articulating the artists deconstructive methods._However, the work that made the biggest impression on me, untitled game (1996-2001), which was a modification of the videogame quake 1, seemed the most incomprehensible. I could only understand it as irrational and void of meaning, and so I walked away from it, confused and titillated. In hindsight, I learned about myself in that moment –about my expectations and concep- tions of how a videogame should work. The strange game seemed only to return me to my own perspectives and expectations around the medium that it was failing to be. A second text by Josephine Bosma usefull outlined Jodi’s active deprogramming of computers, and the paradoxes and tensions inherent to their working method. Even still, untitled game in particular remained for me under-articulated in theory, which increased my curiosity about this kind of art practice. I did not realize it then, but my taste for glitch, and for it’s potential to interrogate conventions through crashes, bugs, errors and viruses, was spawned by that initial and persistent critical evasion of untitled game from my theoretical grasp.
Excerpted from the introduction to The Glitch Moment(um)
Works
Collapse of Pal
Radio Dada
Poem to Mr. Compression
Dead people are less scary than live ones
_________
Barry Doupé
At the beginning there is a blonde girl, looking at us out of a picture frame. Black ink is flowing from her mouth and eyes. Surrounded by unnatural noises, the scene distorts. A female voice on the radio repeats the words “far away,” like a mantra. In his first feature-length animation, Barry Doupé creates a bewildering collage of rudimentary scenarios for his Sims-look-alike characters by stringing together loose sequences, without following chronological order. But even with a broken space-time continuum, the film follows a steady, covert process, parallel to the ocean, one of the film’s main settings. At points, flashbacks, sudden screen changes and rewinding of the film spool destroy the slow rhythm of the work, fracturing its unity, and making it difficult to follow a storyline. However, even if only a few scenes are consequentially connected you can sense a flow toward an undefined purpose.
Excerpted from Ponytail
Works
Ponytail
The Colors that Combine to Make White are Important
Thale
Whose Toes
___________
Christian Hidaka
Christian Hidaka paints fantastical landscapes in saturated, eye-popping color, filled with dreamlike vignettes. In his signature style, Hidaka combines Western and Eastern landscape painting conventions, also drawing influence from the psychedelic writings of Terence McKenna. History meets the contemporary and the futuristic in Hidaka’s works: he punctuates a biblical desert vista with square bodies of water that look like swimming pools, or mixes mountains and rivers with rainbow portals that suggest passage to alternate universes.
*
p.s. Hey. Today, masterful writer, visualist, and d.l. Hyrule Dungeon offers you an entryway into the makings from three very terrific artists of his experience's acquaintance, and please follow his leads because, as you'll see, they're very smart and generous. Thank you, and thank you a ton, HD! I'm off to Strasbourg shortly where I'll be doing a performance thing and a talk re: 'Jerk'. What this means for you is that, tomorrow, when I'll be heading back in Paris's direction but even earlier in the day, the blog will launch a rerun post that I hope you'll like (again), and there won't be a living, breathing p.s. A new post and the full-bodied p.s. will be back here on Saturday, and I'll catch up with your comments then. ** Misanthrope, First I look out the window and see what the people walking in the park below are wearing. If their clothing isn't consistent in its density, I open the window and feel the air. Then I dress appropriately and walk out the door. So, I guess I'm a weather checker, ultimately. 14 degrees, yeah, cold, but we're at or below that level almost every day here, so, I don't know, shrug? Yeah, so tough, post-funeral, and, yeah, checking in with David for a while is a real good idea, you good guy. ** Scunnard, Exactly the story here except with Haribo bags instead of Kebab wrappers. Thank you re: Strasbourg. Hope so. May your everything stay smooth for the next 48. ** David Ehrenstein, Hi, D. As far as I've read, co-writing the new Noe film with your fave Bret is Gus's project du jour. We'll see. ** Tosh, Hi, Tosh. Thanks. Milk 'n' Cookies is a real speciality thing, I think. You have to get into the purposeful self-conscious and ick factor, but I like the artifice. You might try Ian North's solo stuff. It's less art-thick, and it can get pretty dark. Cowboys International, whoa, yeah. I haven't thought of them in ages. I'm going to do a revisit right away. Fantastic that you're through the third draft! And that you think you might spend more time here is, of course, completely musical to me. You're missed here too, T, muchly. ** Sypha, Congrats on reaching the back cover of IJ'! Oh, that's cool that you're noting the books you've read that are on my list. Or lists. Hunh, I should figure out the differences between the two lists. I forgot that I did a revision. ** 5STRINGS, Hey. Ah, yeah, I know you and your fantasies, no problemo and quite the opposite. I've got mine, as you and everybody knows, but they're NSFW, and I think that some part of me thinks of the p.s. as my W for some reason. Yoga's good for taking weight off, I think. And I think it's a good way to get exercised without grossing your body up with overt musculature. The best thing about vegan is that you feel like you're on speed but your teeth don't grind. Lemonheads, ha. There are, like, four songs of theirs I used to really like, and probably still do, but I can't remember their names. ** Chilly Jay Chill, Hi, Jeff. Welcome back. Awesome about the rehearsals. Just the idea of you rehearsing at the Performing Garage is so rich. Man, that place, so much genius-containing. I think the 'Pyre' book will be bilingual, in French and English, so, in France, they can read the French translation, and everywhere else, they'll have to make do with the English. It might be that if, say, there ends up being a healthy tour in, say, German speaking countries, we might print a German version. Don't know yet. Not sure how it'll be, length-wise, in print. In mss., it's 16 pp., single spaced, 12 pt. Apologies if I've explained this before, but the text/book for 'The Pyre' is also the first section of my George novel, although the two versions are quite different. I wrote it with the two goals simultaneously in mind, using the emotion and content of my relationship with George as the resource, and using the 'demands', i.e. the characters and storyline of the theater piece as a structuring device. In the theater version, the conceit of the text is that the boy in the piece wrote the text years later about his relationship with the woman in the piece, and in the novel version, it's me writing about George. So, there are deep similarities and surface differences between the two texts. Hard to explain, I guess. Anyway, the theater piece's goals definitely impacted the text's build and organization, and the novel's demands probably impacted the text just as much. Thanks for asking, man. ** Billy Lloyd, Hi. I own hiking boots, but I'm from California where people usually have them in their shoe arsenal due to the whole 'going out for hikes' thing occasioned by living near so much nature. But here, in the winter, I only pull them out when the sidewalks threaten falls and broken bones at every turn, which is almost never. Very happy to hear your feet were firmly planted yesterday. We might get 'The Pyre' to London. It's 'in discussion'. It's a money thing. It's always a money thing. Money for bringing in semi-expensive theater made by less than giant theater stars in the UK is hard to come by. Oh, cool, Paris might be on your agenda! Definitely let me know, if you come. I can do my best to show you or point you at the cool things I know and have found here, and, obviously, it would fantastic to meet. Really, really happy to hear about your hope and motivation. Those things are so totally key. Really key, and really important, and crucial even. Me too. I'm feeling all happy and motivated right now. So nice, right? Keep yours, and I'll keep mine. Deal? ** Steevee, Like I was saying to Tosh, Milk 'n' Cookies' thing is kind of demanding in its way, and they've always irked as much as attracted, which I kind of like about them, but yeah, I hear you. You found The Quick CD, I see. Their best stuff by far post-dated the LP, and has been gathered on a CD now. The LP is cool, but they evolved into quite a genius pop band, unfortunately too genius and too ahead of the curve to ever get signed up to a major label again. ** _Black_Acrylic, Hi, Ben. I didn't realize that MS could be treated with antibiotics. I guess it makes sense, but I hadn't imagined that. Yes, certainly, huge hopes that they help a lot. ** Cobaltfram, Hi, John. I knew Jeremy a bit, and, even though there's no physical resemblance per say, I think Gosling could play him pretty well. Gosling is quite a good actor. More edits, yeah. Sounds pretty normal for that kind of circumstance, based on the experience of friends who've sold books on proposal. I only did that once, as I'm sure I mentioned, and it was a trek getting the proposal to meet whatever standards that my agent thought were required of fishing Editors. Good luck, hang in there. No surprise to me that those 70s masters interest you so much. What's not to love and admire there, you know? On the novel, I'm very slowly nearing the end of the big middle section. Then I'll have to write the all-impiortant final part. So, I've still got a ways to go, but I'm further along than not. ** Anonymous, Yep, can't explain it, but yep. Oh, got your email. Great stuff! I'll get back to you once I'm through with the traveling/ performing madness. Thank you! ** Rewritedept, Thanks a lot, man! The Primavera line-up is really something, yeah. And it's not all that far away from me, so I'm definitely pondering attendance. You should get a passport. It's very useful to have, psychologically if nothing else. Thank you, bud, about 'TAGP'. That's a favorite thing of mine. Well, you need to make sure in your will that you pick an executor of your estate that will protect your work's best interests so you stuff doesn't fall under the control of someone like Courtney Love, basically. Burning your bad stuff, yeah, I get it. I keep everything. I'll find little jewels I can use years later sometimes even in the seemingly worst shit. ** Okay. I'll go zip my backpack shut and walk over to the train station now. Please enjoy the fruits of Hyrule Dungeon's superb taste in art. The blog will see you again tomorrow, and I will see you again on Saturday.