#Karl Klomp

[ilovetheater-nl]

Nieuwe Buren – Spannend theater vol emotie en intrige

Recensie: Mieke van der Raay Foto’s: Stephan MarkusOp donderdagavond 30 januari vond de première van Nieuwe Buren plaats in het DeLaMar Theater in Amsterdam. Zonder voorkennis van het boek van Saskia Noort of de gelijknamige televisieserie, stapte ik blanco de zaal binnen. Wat volgde was een meeslepende theaterervaring die mij op het puntje van mijn stoel hield. Het verhaal draait om Peter (Jan…

[katecursed]

oh man your art is amazing. any tips on how to get creating art with old tech like you do? I love the idea

thank you!!! <3 there are soooo many different ways to approach it. really any old CRT TV/monitor you can acquire is a perfect start. ask around if you don't have one, they might get harder to find but in my experience a ton of boomers still have em lying around (and will be overjoyed to part with them)!! as for camera, I used an iPhone SE for years and loved it, you don't need anything too fancy.

if the CRTs are all dead or no longer easy to find, you can definitely use an upscaler and a capture card. don't let the CRT hunt scare you away; it's like a tube amp but for visuals. it's not gonna make or break good art, and i've used a capture card for a different aesthetic as well! it's just one of many ways to render the analog signal.

beyond that, if you already have a digital art style or have the discipline to develop one, just pick up a copy of Aseprite and an HDMI to composite converter and you're good to go! whether you learn traditional pixel art techniques to adapt, or just downscale your art style, it's a pretty low barrier to entry there.

if you're more hands-on and want a glitchy aesthetic, the Dirty Video Mixer by Karl Klomp is a go-to first build. a camcorder + VCR/DVD player + dirty mixer combo is a classic setup for video artists. or if you're more into software, you can build an 8-bit creative code machine with an ESP32 devkit; there's an Arduino library for analog video based on Sega Master System emulation.

if you want to do the vector-style aesthetics like my oscilloscope pieces, look into 'oscilloscope music'! I personally use OsciStudio hooked into Blender, but there's free software as well.

last but not least, just follow your sense of wonder, experiment, try whatever. except don't open up the case of your CRT TV because it has super high voltages even when unplugged and will kill you

[arizonamugshots]

Karl Klomp http://ARRE.ST/AZ-112821972

[ba3bryanwalkerresearch]

The Predicaments Of Defining Glitch Art Artists often find themselves on a frontline, reflecting on the cultures, politics and technologies of their time. Over the last decades, audiovisual media and computers have gradually gained more and more importance in an art field that is still fundamentally ruled by classical media forms and genres. Noise itself is of course not new; similarly, contemporary glitch art relates to a long history of noise art and artists battling in different ways against media forms and their flows and conventions, including especially what I have outlined as the convention of transparent immediacy. While not being new, noise art arises unpredictably in new forms across different technologies and cultural scenes. Over time, noise artists have migrated from exploring the grain, the scratching and burning of celluloid (for example, a colour box by Len Lye, 1937) to the magnetic distortion and scanning lines of the cathode ray tube (a significant work being Nam June Paik in magnetTV in 1965). Subsequently, glitch artists wandered the planes of phosphor burn-in, as Cory Arcangel did in panasonic TH-42PWD8UK plasma screen burn, in 2007. With the arrival of LCD (liquid crystal display) technologies, dead pixels were rubbed, bugs were trapped between liquid crystals or plastic displays and violent screen cracking LCD performances took place (of which my favorite is %SCR2, by Jodi, under the Pseudonym webcrash2800 in 2009). To some artists, myself included, it has become a personal matter to break the assured informatic flows of media. While normally, transparent media screens generate conventional impressions of immediacy, there is a desire to force the viewer to think beyond his comfort zones. Glitch artists make use of the accident to ‘disfigure’ flow, image and information, or they exploit the void – a lack of information that creates space for deciphering or interpreting the process of creating (new kinds of) meaning. Through these tactics, glitch artists reveal the machine’s techné and enable critical sensory experience to take place around materials, ideologies and (aesthetic) structures. Their destructive or disfiguring processes have no technological name, definition or explanation (yet). For this reason, it is necessary to not only define and categorize glitch at technological levels, but also to look closely at how specific media are exploited on a more complex techno-cultural level. The artists I discuss here include Ant Scott, 5VOLTCORE Gijs Gieskes and Jodi. Of course many other artists whose practices are invested in the moment(um) or culture of glitch could have been included here. An actual historiography would for instance also include signal processing artists like Karl Klomp, Lovid, Morgan Higby-Flowers and Max Capacity, aesthetic glitch-tricksters like Jon Satrom, jonCates, fabric artist Melissa Baron, and databend generative artists such as stAllio!, glitch-irion Pixelnoizz and Hellocatfood. This historiography is still unwritten (partly because it is still in progress). As is clear by now, the inherent openness of glitch as a concept makes glitch art difficult, if not impossible, to define. Although a glitch can take place strictly within the computational system, the majority of artifacts that are called or referred to as glitches within glitch art are not purely informational, but make sense only through a synthesis of agents and contexts involved. Glitch is post-procedural (a break from a procedural flow) and so, dialectically connects to, while departing from, a linear and informational model of media communication (‘information source-> encoder-> channel-> decoder-> destination’), while also incorporating contextual and social processes of interpretation and making meaning. Furthermore, it is necessary to recall that the word ‘glitch’ in ‘glitch art’ is often used as a metaphorical concept, even by glitch artists, and therefore varies from the standalone technical or informational term ‘glitch’. Ant Scott. SUQQE. Digital screenshot. 2002. The complexities that must be faced by a theorist or researcher when trying to define or demarcate some kind of ‘essence of glitch art’ (if this is even possible) come to the foreground upon close engagement with Ant Scott’s (Beflix) work. For years, Ant Scott has been a leading figure in the realm of glitch art. From 2001 until 2005 he published hundreds of glitch images – static and animated – on his blog, appearing here as the first glitch artist actually using the term ‘glitch art’ for his work. These images don’t have a common source; further, some of them are ‘found’ glitch artifacts turned into or framed as art, while others are intentionally made from scratch by the artist. Ant Scott describes his series glitch (2007), a collection of 25 ‘works’ (small digital renders of lo-fi captured glitches) accessible via his home page, as the best of his ‘pure glitch’ phase. The images, which at first might appear bewildering, are actually created from computer crashes, software errors, hacked games, and megabytes of raw data turned into colored pixels.02 They originate or are con- 02 | Ant Scott, GLITCH #12, GLITCH ART, 2007, http://www.Ant Scott.com/works/glitch.php id=12. structed from thorough trial and error processes,to which Scott carefully reassigns colours, and crops select areas of interest. The result is the works that make up the glitch series. Ant Scott’s working process presents all kinds of dilemmas in the quest for a definition and categorisation of glitch art. What kind of ‘glitch’ is this ‘glitch art’ exploring? How can the glitch be explained as an unexpected, abnormal mode of operation, when the artist’s working process and what he aims for are these abnormalities to begin with? Can the intended error be really described as erroneous? On the other hand, Scott’s wide-ranging interrogation of glitch aligns with other aspects of glitch that I have outlined. A glitch can indeed exist within and across different systems, for instance the system of production and the system of reception. Similarly, a glitch can depend on different actors within these systems; not just the technological elements that Shannon described, but also the ideological and cultural contexts of the technology, which brings aspects of time, place and structure (aesthetics) into the art work, all of which differ between different publics, involved in the process of making meaning. Despite glitch art having no solid, or single definition through time and place, just as Virilio argued that it is helpful to describe a difference between non-figurative and disfigured art, I believe it is useful to make a similar distinction between different dimensions of ‘glitch’ in ‘glitch art’. Glitch art then potentially incorporates a range of works that are post-procedural, deconstructive, accidental and so on, alongside works more focussed on a final end-product, aesthetic or design.

THE GLITCH MOMENT(UM) By Rose Menkman (2011) (Pg 33-35)

[fornaxvoid]

Holy shit dude. Kindred spirit from a far. Love your work, and your studio is gorgeous. Your technique is super similar to one I have been honing towards, what TBC are you using? Again spectacular, spectacular work man.

Dear Adventureface, thanks a lot for your kind feedback! I really appreciate it a lot! Your work is great (def. worth to check it out everyone who is reading!)I was lucky to find a Panasonic WJ-AVE3 at the booth of my favorite flea market seller for just 20$, and this device contains a TBC. I also found some SVHS VCRs with integrated TBC function. I can also highly recommend the page of Karl Klomp for research about video gear!

Best Regards, David // Fornax Void 

- Panasonic WJ-AVE3

[doudidoud]

ReFunct Media is a multimedia installation that (re)uses numerous "obsolete" electronic devices (digital and analogue media players and receivers). Those devices are hacked, misused and combined into a large and complex chain of elements. To use an ecological analogy they "interact" in different symbiotic relationships such as mutualism, parasitism and commensalism.

By Karl Klomp, Benjamin Gaulon, Gijs Gieskes