Video Vortex: Ana Kronschnabl & Tomas Rawlings programme

Ana Kronschnabl’s career in media began in 1987 when she founded and ran a video production company, Cambridge Video Unit: with clients including Ford UK and the NUS. Ana is one of the UK’s leading authorities on new-media aesthetics and technology, is an award-winning filmmaker and founder of the acclaimed web-film project plugincinema. Ana won the 1990 Ian Nicol Health Promotion Award for her film on AIDS, ‘Sex, Lies and Stereotypes’ and is the co-author of the first ever book to examine filmmaking and the Internet; ‘Plug In & Turn On: A Guide to Internet Filmmaking’ (ISBN: 0-7145-3102-2 Marion Boyers, 2004). She is a visiting lecturer at Bristol University and is completing a PhD on content creation for the Internet and other hand-held devices. Ana sits on the MediaBox panel for South West Screen and the selection panel for Encounters Film Festival. Ana is currently CEO of the digital media and computer games company FluffyLogic, whose client list includes Hewlett Packard, Sony Computer Entertainment Europe, Swindon Borugh Council, South West Regional Development Agency and Knowledge West.

Tomas Rawlings graduated from a degree in Psychology and Communication in 1996. He then went on to work with young people for various social services projects. In 1998 he entered the computer games industry working at Hothouse Creations. There he worked as a designer on PC, PlayStation? and Dreamcast games such as ‘Abomination: The Nemesis Project’ and the best selling TV-tie in, ‘Who Wants to be a Millionaire?’ He moved to Pivotal Games in 2001 to work on next generation game systems. Amongst other project there, he was lead designer on the PC, PlayStation2 and Xbox conversion of the 1963 Oscar winning classic ‘The Great Escape’. Tomas is co-author of ‘Plug In & Turn On: A Guide to Internet Filmmaking’ (ISBN: 0-7145-3102-2 Marion Boyers, 2004) and is currently the development director at FluffyLogic and is studying for a PhD in Network Media at Bristol University.

Berlin Riot 1999 (Atari Teenage Riot LIVE)

the classic piece that was the audiovisual epiphany for many. still remains the standard to match for av cutup. ninjatune rool!

Web 2.0 … The Machine is Us/ing Us

kersal massive with REAL Ginger Joe


Warby does the kersal massive

Marcus Brigstocke rants about religion. Not for the faint-hearted! Audio from ‘The Now Show’, Radio 4, Saturday 21 July 2007. Pictures compiled and sequenced by Alien8ted.’s site manager answers Religious Questions in his 6-part series Atheism-101.
Name: Doubter5
Age: 57
Computer Programmer, Biker, Country Dancer, Karaoke Singer, Guitar Player, B.A. Poli-Sci ’75. See

mentos+coke light = explosion

my humps – black eyed peas

Alanis Morissette “My Humps” video

distance over time

“Distance Over Time is part of my research into making appropriate content for delivery over the Internet. Distance Over Time is about the concept of travel or movement. It contrasts moving footage taken from different forms of transport with the self determined, mechanical movement of objects. The film moves through time and space multilayering images and sound as it moves faster and faster towards the end of its journey. The film is intentionally experimental and conceptual using the shape, colour and pace of the images as the formal structure. It was filmmed using a Canon Powershot S200 digital stills camera at a very low resolution (160 x 120) and edited in AfterFX. There are two different versions here; one 56k version and one for broadband (256k). Although I experimented with various codecs and file formats, Real is the one that gave the type of compression and image/sound quality that I preferred.”

Eliane Radigue at Argos

Eliane Radigue

We’re very happy to have Eliane Radigue at Argos. She’s coming over to attend the performance of Naldjorlak by Charles Curtis (@Argos) on Thursday 4 October, and the lecture by Manu Holterbach (@Q-O2) on Friday 5 October.

A pioneer composer of electro-acoustic music, Eliane Radigue is a remarkable figure in the contemporary experimental music scene. As soon as the early 50s, she was closely related to Pierre Schaeffer and Pierre Henry. From 1970, she started distinguishing herself from other composers by focusing on the new possibilities offered by the first synthesizers. More particularly, she worked with an ARP synthesizer, which became and remains her trademark. Her drone music, a continuous flow of intermingled sound waves, is impossible to ignore and is a major influence to a whole new generation of composers – in France as well as in many other countries.

“Eliane Radigue works with electronic sounds on tape to create an ambience within which sound seems to move in a continual flow around the listener. Her music has been described as “infinitely discreet … next to which all other music seems to be tugging at one’s sleeve for attention.”
–Michel Chion, in Les Musiques Electroacoustiques

Charles Curtis

THU 4 OCTOBER // 20:30 // ARGOS
concert Charles Curtis (cello): ‘Naldjorlak’, a composition by Eliane Radigue for Charles Curtis. in the presence of Eliane Radigue .
+ concert Mika Vainio / Lucio Capece

FRI 5 OCTOBER // 20:00 // Q-O2
lecture Manu Holterbach about Eliane Radigue + opening sound-installation ‘sigma’

Read a nice interview with Eliane on prism-escape

Jon Ippolito: Art After Institutions

Jon Ippolito
Art After Institutions

17.05.07 // 20:30

Participatory media like Flickr and YouTube have given ordinary netizens a chance to shine as media creators, but this fact hasn’t gone over well with “serious” artists and their curatorial counterparts. Seemingly bereft of the social status, economic privilege, and institutional recognition of mainstream art stars, some new media artists wonder what role, if any, remains for them to play in the the Web 2.0 age of peer-filtered creativity. As Joline Blais and Jon Ippolito argue in the 2006 book At the Edge of Art, new media art’s dependence on institutions is indeed in crisis, but this is more of a loss for galleries and museums than for the artists themselves. For participatory media are on the verge of enabling creators to regain the power they once held before the era of commodity speculation and the art market: the ability to reconnect people in new forms of creative kinship, whereby artworks facilitate social transactions rather than financial ones. To accept this new role, however, artists, curators, and critics may have to renounce the pyramid scheme offered by the brick-and-mortar art world, replacing the monolithic canon of Great Artists with a dense network of creative participants.

The recipient of Tiffany, Lannan, and American Foundation awards, Jon Ippolito exhibited artwork with collaborative teammates Janet Cohen and Keith Frank at the Walker Art Center, ZKM/Center for Art and Media Karlsruhe, and WNET’s ReelNewYork Web site. As Associate Curator of Media Arts at the Guggenheim Museum, he curated Virtual Reality: An Emerging Medium and, with John G. Hanhardt, The Worlds of Nam June Paik. Ippolito’s critical writing has appeared in periodicals ranging from Flash Art and the Art Journal to the Washington Post. At the Still Water lab co-founded with Joline Blais, Ippolito is at work on three projects–the Variable Media Network, the Open Art Network, and their 2006 book At the Edge of Art–that aim to expand the art world beyond its traditional confines.

In cooperation with the International Visitors Program for Media Arts organised by Digitaal Platform IAK/IBK and Flanders Image.

You can browse through the presentation (built using ThoughtMesh software)

During his talk Jon also shared some notes from conversations he had with Geert Lovink, based on his text New Media Arts at the Crossroads, which Geert presented at Argos a few weeks ago.