The Alchemists of Sound

If you are not familiar with the BBC Radiophonic Workshop but have even a small interest in Musique Concrète, Sound Art, electronic music or even Dr. Who, you’re in for a treat. Predating the advent of the analog synthesizer by almost 8 years, the Radiophonic Workshop created innovative music, sound tracks and treatments for BBC radio and later television programming. Armed with little besides numerous tape machines and microphones, Dick Mills, Daphne Oram, Roger Limb, Paddy Kingsland and later others, created some of the most innovative and memorable sounds and electronic music in the second part of the 20th century.

Below is an amazing 60 minute documentary (well worth your time) called The Alchemists of Sound. It focuses on the history, development and the ultimate closing of the workshop along with the disposal of much of their audio archive. UGGGGH!!!!!!!

Enjoy!

Boom! Live Video Performances 2.1.13 at 6 pm

Terminal - Boom!

 

On February 1st at 6 pm, Terminal presents “Boom!” a live video performance event at the Coup in Clarksville, TN. Boom! will feature Charles Woodman, Morgan Higby-Flowers, Aaron Hutcheson, and Barry Jones.

Tagged ,

Ten (Or More) Misconceptions About Electronic Literature

Electronic literature (or digital literature, as it is sometimes called) is difficult to define. It is described by Kathi Inman Berens and Dene Grigar, co-curators of a recent exhibition of electronic literature at MLA 2013 in Boston, as “literary works involving various forms and combinations of digital media, such as video, animation, sound, virtual environments, and multimedia installations, for desktop computers, mobile devices, and live performance.” This definition seems a concise and useful one,

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and among the best of the many circulating online and in conferences, festivals, galleries, and classrooms around the world.

One result of its slippery nature is that electronic literature, when it is recognized as such, is often misunderstood. So here are

Ten (Or More) Misconceptions About Electronic Literature

that you might

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hear while out and about:

(1) Digital literature is dead.

I was at the eNarrative5 Conference at MIT in 2003, and a Canadian critic claimed to a packed conference room that electronic literature was dead. He said it like the corpse was

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lying at his feet, and if we only looked down, we would see it.

He was wrong, of course. But even today, the claim still surfaces despite new generations of digital writers, the increasing number of online (and offline) venues for digital literature, demands for digital writers and theoreticians in colleges and universities, and international media notices.

So is electronic literature dead? If so, then the world missed its funeral.

(2) Electronic literature may not be dead, but

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what’s the difference if no one reads it?

Chances are, if you went to your local pub, or

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a gallery opening, or a church social, and asked how many people read digital literature, the answer would be few, or none. Most would not even know what digital

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literature is.

But if you are wondering who reads digital literature, maybe the answer is found in the virtual world, not your neighbor’s backyard. Loosely speaking, if you are on Facebook, you are reading a form of electronic literature every day. People are sharing their stories with images, video, text, and audio. They are using multimedia to tell their tales. This is digital literature, of a sort, and most of us are reading it.

A related question is, What about the digital writers, not the ones who are solely on Facebook, but the ones who have higher pretensions for the world of online electronic literature? How do these web-based writers compare in terms of readership to the average writer in traditional print format?

Let’s say you are a digital writer on the web (which means you might actually write for the web, or your work appears in another medium but is available on the web). Let’s say you get twenty visitors a day—that’s visitors, not hits. Let’s

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remove the visitors who made it to your website by mistake, and the ones who took one look and fled in horror (or confusion), and the ones who read a bit and didn’t like it. Then let’s get rid of the multiple visits from a single reader—we’ll only count him or her once.

That leaves, say, five readers a day, which equates to 1,825 readers a year. I personally know a dozen traditional print writers who would kill for that kind of readership.

So is anyone reading digital literature? Don’t ask at the nearest art opening; check Facebook or the number of your web visitors.

(3) Digital literature is all about hypertext, and nothing else.

Anyone who knows digital literature knows that—with new developments in HTML5, more sophisticated web browsers, interactive video, and enhanced technologies for new media installations and performances—digital literature now finds outlets in many related forms, and in diverse venues.

To say digital literature finds its voice

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(4) If you read digital literature, you are at a

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higher risk for strokes, brain tumors, car accidents, or insomnia.

Well, insomnia, maybe. Once you start to read it, you can’t stop.

(5) If you write digital literature, you are at a higher risk for strokes, brain tumors, car accidents, or insomnia.

This is undoubtedly true. Most writers, in any form, are driven. Unfortunately, digital writers are no

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different—they are doing the driving, and it’s at breakneck speeds on roads that are off the map.

(6) The next generation(s) of digital writers, and readers, are few or non-existent.

Let’s try a syllogism:

Antoine Anyone is on Facebook;

All users on Facebook use text, images, audio, or

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video in their posts;

Therefore, Antoine Anyone reads, or writes, with multimedia.

(7) You can take a book to the beach, but what about digital literature?

Rowling, Collins, Robbins, King, L’Amour… Add sand, surf, a Kindle, and a beach chair, and you’re at home with approximately two billion other people who have read these authors.

Mix in an iPhone or Droid, and soon, if not already, you’ve got all the digital literature you need, for free.

(8) But I like the feel of turning pages in a book. How can digital literature beat that?

Imagine a book that feels like a book, looks like a book, and has pages that turn like a book. But all the pages are browser-enabled, online, and infinitely refillable with any content you want.

This technology is already here.

(9) Digital Literature is a

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flash in the pan.

Flintlock muskets used

to have small pans to hold charges of gunpowder. A “flash in the pan” was when, upon firing the musket, the gunpowder flared up without firing a bullet.

The metaphor endures today, even though the technology does not. Which is to say, bullets are still fired, but from different guns, and for a digital purpose.

(10) Digital Literature is the death of the book.

The book isn’t dead—books will always be around. Now, they must share the stage with other ways

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of reading a poem or a story.

(11) Add your misconception here…

Charles Woodman, February 1 – 15, 2013

Charles Woodman - Terminal

 

Charles Woodman has been working in the field of Electronic Art for more than twenty years and has been a Professor of Fine Arts at the University of Cincinnati since 1999.

His recent projects have concentrated on the integration of video in live performances, often in collaboration with musicians or dancers, and on the creation of video installations for museums and galleries.

Exhibitions of his work include screenings at the Block Museum of Art in Chicago, the New Interfaces for Musical Expression conference in Vancouver, Canada, the Black Maria Film and Video Festival, Edison, NJ, the American Dance Festival in Raleigh, NC, the San Francisco Cinematheque, and the Museum of Modern Art in New York.

 

On Friday February 1 at 6 pm Woodman along with Barry Jones, Morgan Higby-Flowers and Aaron Hutchenson will be performing live video at the Coup in Clarksville.

 

Woodman was founding member of the video performance group viDEO sAVant and is currently working on the design of a new instrument for use in real time performance, a “gesture based interface for real-time control of video playback.”

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Terminal Award: The Poor House Project by Angela Watters

Angela Watters - Terminal

 

launch The Poor House Project

Terminal and the Center of Excellence in the Creative Arts at Austin Peay State University are pleased to announce the launch of The Poor House Project by Angela Watters. Watters is a recipient of a 2012 – 2013 Terminal Award. The Terminal Award is granted annually to four artists to help in the creation of new internet based artworks.

 

The Poor House is a participatory art project organized by artist, Angela Watters.  Currently, the project is accepting submissions of student loan debt numbers from arts graduates. In the coming months personal invitations will be sent to well-known artists requesting a donation of a small work of art to decorate the interior of the gallery like interior of a $5 flea market dollhouse, or the Poor House, which will be transformed into a sculpture offered to collectors at the amount of collected student loan debt. The Poor House Project website compares debt collected with realized prices of paintings sold at auction. As the debt totals rise, the featured painting on the home page will change to a painting sold for a comparable amount.

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Terminal Award: Chastity by Angela Washko

Angela Washko - Terminal

 

project site

 

Terminal and the Center of Excellence in the Creative Arts at Austin Peay State University are pleased to announce the launch of Chastity and The Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft by Angela Washko. Washko is the recipient of a 2012 – 2013 Terminal Award. The Terminal Award is granted annually to four artists to help in the creation of new internet based artworks.

 

 

ARTIST STATEMENT
Angela Washko

Mobilizing communities and using play, I am an artist and facilitator creating new forums for discussions of feminism where and when they do not exist. These forums are created through actions, interventions, videos, and performances- sometimes in video games. I am dedicated to researching and ultimately changing unhealthy, unrealistic, limited, and object-oriented projections of women throughout different forms of media by creating public works that challenge our implicit acceptance of everyday inequality.

My most recent project, “The Council on Gender Sensitivity and Behavioral Awareness In World of Warcraft,” is a long-term research-based initiative I launched to create spaces for dialogue about feminism inside a video game with a community that is notoriously misogynistic and aggressive toward women. I am interested in the unusual political space that evolves within WoW. It takes quite a lot of effort to ever break into the social aspects of the game. One has to make a fairly serious commitment to the game (undergoing lengthy tutorials, quests, learning characters’ skills, finding equipment, fighting dragons/goblins etc.) to ever make it to the point where they are in a guild and regularly communicating with large groups of people. Because of that barrier between the committed and the dabblers, a unique social community is created in each realm of World of Warcraft that few know about, despite the game’s widespread popularity. The blatant discrimination, homophobia, and extreme sexism that persist are not a result of the developers’ aesthetics, but the community of avatar-hidden individuals that play it. I am creating videos from performances inside of World of Warcraft that investigate the relationship between female players and the intensely complex social communities within WOW. I am working on instituting a system in which players in my community are forced to take responsibility for their oppressive behavior, help to create an environment that encourages women gamers to participate, and present performances and videos to a non-MMO-informed public that is unaware that these communities exist.

Continue reading

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Michelle Given, January 17 – February 2, 2013

Michelle Given - Terminal

 

In this suite of videos Michelle Given investigates the intricacies of sexual tension, specifically its attendant feelings of anticipation, frustration and anxiety. She questions what is more fulfilling or agonizing— never getting what one desires, or obtaining the object of one’s desire only to find that it did not meet one’s expectations? Does the subject inLure hold the fishing pole, or is she dangling from the hook? In Chase, what are the ultimate goals of the participants— would satisfaction be achieved for the subjects or the audience if the actions were to be completed? If so, how profound or superficial would that fulfillment be? The videos’ subjects exist in a state of limbo, working towards or waiting for a culmination of their actions, a release that never comes. Given wants the videos to be alluring as well as disconcerting so as to echo the push/pull of the works’ basis.

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Reblog: Web Design Trends in 2013

From Smashing Hub:

Six Expected Web Design Trends in 2013

As a net artist and educator it’s important for me to stay somewhat current with all that is new on the web. I certainly would not classify myself as a programmer, and I also wouldn’t really say I’m a web designer, either. But, I do teach students the basics of what they think of as “web design” (and what I think of as a craft that drives experimentation on the web), so these types of articles appeal to my inner geek.

responsive web design

Some “trends” have been in the making for a while. For instance, check out Josh Emerson’s responsive dog or the gigantic buttons fit for touch pads and mobile screens I advised for our CSUF Communications web page two summers ago. (Aside: no, the page that is currently there was not designed by me, but the big buttons—at least upon first implementation—were).

big buttons on the csuf comm website.

Big buttons circa 2011.

I’m always happy to see typography land on any type of “what’s in” list. Even in introductory courses I teach students to use Google’s web fonts (and in advanced courses Font Squirrel is applicable). Artists are inspired by type as much as designers—see Christopher Clark’s Web Typography for the Lonely.

Punch Out, one of Christopher Clark's typographic plays.

Punch Out, one of Christopher Clark’s typographic plays.

Something that might become a stable, new trend or a fly-by-night artifact of the early twenty-teens (we won’t know until 2014, I suppose): parallax scrolling. This effect has been used successfully on commercial and journalism web pages. I tried to use something like it a year ago in a net art work, Waiting for You at the Mystery Spot, though I think my interpretation is lacking compared to the excellent visuals created by commercial teams or at least someone who can call herself a programmer.

Snow Fall Screen Shot

Snow Fall:
The Avalanche at Tunnel Creek by John Branch

Programmer, developer, designer, artist, craftsperson…however you identify yourself in relation to making stuff for the web, these types of articles can be handy for their inspiration and many links to more information. Ask not what the web can do for you, but…well, you get the idea.

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Terminal Welcomes New Site Contributors

Alan Bigelow, xtine burrough, Channel TWo, Curt Cloninger, Stephen Slappe, Jason Sloan, and Angela Washko (each a former participant in Terminal projects) has agreed to sign on as content contributors to Terminal. They will each be writing about and sharing things that excite them and that will add to the wider discourse surrounding digital art. I look forward to their contributions and to this new chapter in Terminal’s history.

 

 

Alan Bigelow writes digital stories for the web that use images, text, audio, video, and other components. These stories are created for viewing on the web, although they can be (and have been) shown as gallery installations.

Alan Bigelow was the 2011 winner of the BIPVAL international Prix de Poésie Média. His work, installations, and conversations concerning digital fiction and poetry have appeared in Turbulence.org, Rhizome.org, SFMOMA, Los Angeles Center for Digital Arts, 14th Japan Media Arts Festival (The National Art Center, Tokyo), FAD, VAD, FreeWaves.org, The Museum of New Art (MONA, Detroit), Art Tech Media 2010, FILE 2007-2012, Blackbird, Drunken Boat, IDEAS, New River Journal, Hallwalls Contemporary Arts Center, and elsewhere.

Recently, in addition to teaching full-time at Medaille College, he was a visiting online lecturer in Creative Writing and New Media at De Montfort University, UK.


xtine burrough is a media artist and educator. She is the editor of Net Works: Case Studies in Web Art and Design (Routledge 2011) and co-author of Digital Foundations (New Riders/AIGA 2009).

Informed by the history of conceptual art, she uses social networking, databases, search engines, blogs, and applications in combination with popular sites like Facebook, YouTube, or Mechanical Turk, to create web communities promoting interpretation and autonomy.

xtine believes art shapes social experiences by mediating consumer culture with rebellious practices. As an associate professor of communication at CSUF, she bridges the gap between histories, theories, and production in design and new media education.


Channel TWo (CH2) involves Adam Trowbridge, Jessica Westbrook, and Oskar Westbridge. CH2 focuses on mixed reality, media, research, design, development, and distribution… authorized formats + unauthorized ideas… systems of control + radical togetherness. CH2 was awarded a Rhizome Commission in 2012, a Turbulence Commission in 2011, and a Terminal Commission in 2010.

Trowbridge and Westbrook have been collaborating since 1990, and have contributed to a number of publications, platforms, and programs including: reviews for furtherfield.org (2012); the GLI.TC/H READER[ROR] (http://gli.tc/h/) (2011); Media-N, Journal of the New Media Caucus (2010); Plausible Artworlds, a project to collect and share knowledge about alternative models of creative practice (2010-2011); Art Work, A National Conversation About Art, Labor, and Economics, Ed. Temporary Services (2009).


Curt Cloninger is an artist, writer, and designer living in western North Carolina. His art undermines language as a system of meaning in order to reveal it as an embodied force in the world. Cloninger is an Assistant Professor of Multimedia Arts & Sciences at the University of North Carolina at Asheville. His work has been featured in I.D. Magazine, The New York Times, ABC World News, and at festivals and galleries from Korea to Brazil. Exhibition venues include Digital Art Museum [DAM] Berlin, L’Instituto de México à Paris, and The Art Gallery of Knoxville. Cloninger also maintains http://lab404.com , http://playdamage.org , and http://deepyoung.org in order to facilitate a more lively remote dialogue with the Sundry Essences of Wonder.


Stephen Slappe (b. Charleston, WV) is an artist based in Portland, Oregon. Slappe’s work has exhibited and screened internationally in venues such as Centre Pompidou-Metz (France), Portland Institute for Contemporary Art’s TBA Festival, The Horse Hospital (London), The Sarai Media Lab (New Delhi), Consolidated Works (Seattle), Centre for Contemporary Art (Glasgow), and Artists’ Television Access (San Francisco). His projects have been funded by multiple grants from the Regional Arts and Culture Council of Portland and an Individual Artist Fellowship from the Oregon Arts Commission.

Slappe is an Assistant Professor and Chair of Video & Sound at Pacific Northwest College of Art.


Jason Sloan is a new media & sound artist, electronic musician, composer and professor at the Maryland Institute College of Art in Baltimore, Maryland. Sloan received his BFA from Edinboro University and his MFA from Towson University.  In addition to being the recipient of multiple Maryland State Arts Council’s Individual Artist Awards, Sloan’s performances, installations, net.art and video works have been exhibited internationally including Berlin, Copenhagen, Edinburgh, Kiev, Nagoya, Saint-Petersburg, Toulouse, Lisbon, Uden and Vienna. In addition to releasing over a dozen studio albums and E.P.’s over the last decade on various record labels, Sloan has played live all over the US, Canada and Europe including the influential Live Constructions radio program at Columbia University, STEIM in Amsterdam and Philadelphia’s The Gatheringsconcert series, one of the country’s oldest continuing ambient and electronic music series.


Angela Washko is a New York based artist and facilitator devoted to mobilizing communities and creating new forums for discussions of feminism where they do not exist. These forums are created through actions, interventions, videos, and performances- sometimes in video games! She recently founded the Council on Gender Sensitivity and Behavioral Awareness in World of Warcraft. Fond of creating institutions with long names and lofty goals, she also founded The World of Warcraft Psychogeographical Association, another in-game organization which she plans to expand into an artist residency program inside the video game.

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Call For Proposals : 2013 – 2014 Terminal Awards

During the 2013 – 2014 academic year, Terminal http://www.terminalapsu.org will award four – $500 stipends to assist in the creation of new internet based art works.

The submission deadline is February 1, 2013
Submissions are open to anyone.

Terminal can provide webspace for completed projects, or the artists may elect to host the project themselves (with Terminal retaining a copy for archiving). We simply ask that Terminal be acknowledged with a link from the project and in all press resulting from the project.

In an e-mail to: jonesb@apsu.edu include
1. Artist or Artists full name
2. Address
3. E-mail address
4. Short bio ( 100 words max )
5. Links to on-line projects ( 5 urls max )
6. Proposed project title and description ( 500 words max )
7. Documentation that supports the proposal (images, diagrams, prototypes, etc)

Please submit your proposal as a single pdf attached to the email.

 

The juror for this year’s Terminal Awards is Greg J. Smith.

 

Greg J. Smith is a Toronto-based designer and researcher with interests in media theory and digital culture. Extending from a background in architecture, his research considers how contemporary information paradigms affect representational and spatial systems. Greg is the Editor-in-Chief of the forthcoming digital arts magazine HOLO, a regular contributor at Creative Applications Network and a designer at Mission Specialist. Greg has presented work internationally at institutions including Resonate (Belgrade), Eyeo Festival (Minneapolis), Medialab-Prado (Madrid) and the Western Front (Vancouver) and he is an adjunct instructor in the CCIT program (U of T Mississauga/Sheridan College).


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