Prikazan in predstavljen je izbor avtorskih del festivalskega in razstavnega programa /’fu:bar/
niilismo digital [05’09”, 2022]
About the work:
The main technique used was analog video mixing based off of Karl Klomp's dirty video mixer that I built to make this for a university project. For a while before making this I had been obsessing over video mixing and glitch art through some talks with a friend that is as passionate about it as I like to consider myself now. It was via him that I learned about the video mixer and got myself to make one from scratch, using an old container for swimming goggles as the box for all the wiring (reusing materials is a must haha).
Although the final editing and cutting were all done in the digital medium using Premiere Pro, most of the footage is manipulated beforehand analogically using the mixer. In Premiere I mostly just placed the videos together, cut them and played around with some overlays. All around I used the imagery of a film that was playing on my DVD player and mixed it with the live video feedback from my old handcam.
Artist’s bio:
toutramada is a young artist based in Lisbon, Portugal.
Her work acquires form through the most various media including digital and glitch art, experimental photography and video. The uniqueness of her work relies on breaking several rules of depending on just one media, doing it by constantly mixing traditional and digital mediums.
Growing up away from the chaos of packed cities and people, surrounded by nature and constantly reading, she started looking at things from a very distanced and critical view, questioning habits and things such as people’s dependance of their online presence, loss and memory and the symbiotic relationship between human beings and machines.
Artist’s website: https://toutramada.tumblr.com/
An Interval Among Death and Dream [05’17”, 2020]
About the work:
An Interval Among Death and Dream is an experimental glitch machinima that explores altered states of consciousness through aesthetics of error. Employing sensual expressions of datamoshing, An Interval Among Death and Dream evokes a haunting journey through the Bardo in traditions of Tibetan Buddhism: an existential state that lies between death and rebirth, consciousness and unconsciousness, spiritual transcendence and hallucination, ego and its dissipation. Here, footage of pristine landscapes has been captured from gameplay in Red Dead Redemption 2 (Rockstar, 2018) and corrupted to produce a continuously unfolding glitch sequence in which mountain ranges and meadowlands implode upon each other in violent abstractions. The material strangeness of glitch reinforces this spiritual wandering into the unknown. Glitch techniques often play with continual cycles of data’s destruction and generativity, between a gestalt image and abstract forms that underlie familiar interfaces. Similarly, the Bardo as a liminal state among the corporeal and metaphysical negotiates among reality and intermediate realms of being. Through bliss and apprehension, An Interval Among Death and Dream considers glitch aesthetics as a form of spiritual abstraction, one that elicits technically mediated altered states through the perpetual corruption and generation of data to produce the novel and unexpected.
Artist’s bio:
Eddie Lohmeyer is an Assistant Professor of Digital Media at the University of Central Florida. His research explores aesthetic and technical developments within histories of digital media, with an emphasis on video games and their relationship to the avant-garde. His book Unstable Aesthetics: Game Engines and the Strangeness of Modding is now available through Bloomsbury Press. Using deconstructive approaches such as glitch, physical modifications to hardware, and assemblage, his installations, sculpture, and video have been exhibited both nationally and internationally, most recently at 1308 Gallery at the University of Wisconsin, Ground Level Platform (Chicago, IL), the Yeltsin Center in Yekaterinburg, Russia and the 2021 Milan Machinima Festival. Drawing from occult mysticism, Zen Buddhism, and art history, Lohmeyer’s art explores the intersections among human perception, digital technologies, and modes of spiritual abstraction. Through experimental film, video installation, sculpture, and interactive methods, his media interventions aim to reconsider our habitual encounters with digital technologies through uncanny and often transcendent interfaces and screens. The playfully ironic encounters with these strange media forms unveil normal attitudes and perceptions toward digital technologies that have become a mundane co-extension of our bodies, while questioning knowledge frameworks in contemporary networked culture through which we perceive and sense the world.
Artist’s website: https://vimeo.com/eddielohmeyer
:\eclipsed [03’34”, 2016]
About the work:
This project is a combination of original 16mm footage and found film, mostly from vintage education films. The core sequence was assembled by hand before being digitized. The video file was deconstructed scene by scene and databent via sonification, ie. converting the video files to RAW data, and running audio filters on them using Audacity. I created multiple versions of each clip with different audio filters applied. I then converted the RAW data files back into video and layered them over the regular (unglitched) footage, using varying opacities and layer styles to achieve the right aesthetic. There is also some datamoshing using AVIDemux in the second half, where I moshed the original video with some of the sonfied files. In select sequences, HEX editing was applied and blended into the sonified footage for the crunchy, pixelated textures. I also included some footage that glitched naturally when I was attempting to convert AVI files into MP4s and something went wrong.
The film is a blend of many techniques and my approach was pretty chaotic. The purpose was to create the right mood and texture for each scene in service of helping the somewhat abstracted narrative while also establishing the overall concept that the video file had been recovered from a corrupted memory device in a distant future, a glitched AI recollection of an ancient creation myth.
Artist’s bio:
Nicole Baker Peterson is an American born experimental filmmaker and transmedia artist, working between digital glitch video and analog film. She is a some-time programmer and the founder of the live-stream experimental film series Media Monsters (twitch.tv/media_monsters). Her award winning work has been exhibited around the globe.
Artist’s website: www.magiklantern.com
Shrine v2.4.5 [03’00”, 2017]
About the work:
Definitively, Shrine is not a Gesamtkunstwerk. Lingering over new media grey areas, it is digging into good old synesthesia. It is impossible to ignore industrial and noise influences whose Lino has with his musician past, publishing in the early 90s audiotapes with Le Forbici di Manitù and Kirlian Camera among others. Someone said you cannot step into the same river twice. Spooling between digital and analogue camcorders Shrine is an impermanent analog-digital assemblage. Wandering through abandoned industrial sites, collecting data findings on a WWI cableway, the process is in a constant change, wading across the several streams of History Minor and Non-linearity. Within a Strugatsky Brothers imagery, Shrine tends to splice an audiovisual and otherwise impossible post-anthropocenic τóπος. The filmic nature of the multiscreen practice generates its own path from process philosophy to whole editing cosmogonies as well as cognitive heuristics. As in an Artaud’s theatre script, the elements are simple: the environment acting as a system integrator, a few characters, finished states of cruel action. In a camera surveilled-like world, the absence of perspective speaks the language of an ancient epiphany, getting the survivor lost into a pareidolic adrenaline rush of stochastic urn processes. His improvised white coverall is making him appearing like a lamb before of an Ur-Medusa whose hair strands are recalling the branching of a singularity. Victim of an inscrutable design he is a sacrificial concept awkwardly relying upon glitchy inferences, while she is having a sheerly agile Merkwelt in a world of protein-to-protein interactions. We must think, says Donna Haraway. True.
Artist’s bio:
Provided with different backgrounds, Francesca Giuliani and Lino Mocerino have a natural interest in the intersection of Art, Technology and Science. Their procedural semiotic ground aims to prime processes across different media and languages, so that the system’s inner entropy sparks into new emerging properties. While they enjoy to experiment with creative technology, their UI are mentioned by the University of Plymouth, their AV works appear across various festivals and, under the mark of project-based research, they are into EU awarded networks as well as participatory designs.
Artist’s website: https://www.semiosphera.eu/
The Cost of Lies [08’10” 2020]
About the work:
The Cost of Lies is an audiovisual composition about climate change as a result of global capitalism. I used datas about greenhouse gases, global warming, global sea levels, wildland fires, firearms manufacture and meat production to control and manipulate the audio and the video, and to generate events and notes through max/msp/jitter.
Artist’s bio:
Artiom Constantinov is an audio-visual artist who explores glitch, sound deterioration and noise as sonic material, in combination with audio-reactive generative visuals. In his compositions he often deals with social themes related to the environment, the alienation of the individual and the effects of capitalism.
Artist’s website: https://artiomconstantinov.wordpress.com/
Curated by:
Ras Alhague
A Polish digital artist and photographer whose work explores the themes of sexuality, gender, and identity. Their work incorporates elements of fetishism and digital distortion as a means of re-appropriating power dynamics that have historically governed representations of the human form in art.
/’fu:bar/ (est. 2015) is an annual hybrid program focused on electronic experiments and research in contemporary error-themed digital art theory and practice.
The main week-long program of talks, workshops, performances starts with the first Saturday of October. The partner program extends into the rest of the year, offering artist residencies, educational events, video screenings, group exhibitions and an open archive, shown and shared at multiple partner locations and online.
The festival and exhibition program are accessible ONLINE and AFK in venues in Zagreb (HR) and beyond. Events are open and free admission, as well as archived and networked.
