An Interview with Jon Cates: water noises, datastreams, memory glitches, and dirty new media lake swimming

ERRORRUNNINGWWWATERNOISES video still. Image courtesy of Jon Cates.

ERRORRUNNINGWWWATERNOISES video still. Image courtesy of Jon Cates.

On July 14, 2012, Jon Cates performed ERRORRUNNINGWWWATERNOISES via Skype for MediaLive 2012 at Boulder Museum of Contemporary Art. Later that year, on September 20, Jon performed this piece again for Post-Static at Intuit, the Center for Intuitive and Outsider Art in Chicago, which I was fortunate to experience live.

ERRORRUNNINGWWWATERNOISES is a realtime performance, by way of video and sound projection, where within the artist presents a self-referential script that weaves the audience through a non-linear narrative of its own inspiration, creation, history, and presentation. Time is fluid, as the artist simultaneously exists in the past, present, and future.

The performance begins with Jon standing in front of a large projection screen, and behind a work table with his tools: an audio mixer, computer, and video camera. The video begins with a fuzzy black and white image of undulating waves of water, and we hear the accompanying sound of the ocean waves through the speakers. Jon steps forward, turns on the camera, and then steps back. His hi-contrast black and white image is now layered inside of the waves. He begins weaving a story about being inspired to create a new artwork by remixing a piece he had made many years earlier, he looks on a shelf in his library where the VHS of the video was stored, and discovers that the piece he had just conceived has already been created. The remix sits on the shelf next to the earlier version. He did not remember making it.

This performance of the fallibility of memory creates a snag, or glitch. The logic responds: but that can’t be, it has not already been recorded, and not on VHS by any means, it is being made in front of us, isn’t it?

Jon records the audio and video of the performance in realtime. As he recollects this narrative of the artwork’s creation, he merges the live video with the ocean waves being projected behind him, and loops the audio feed back onto itself. The deluge of information we are being presented with seems to become tactile; we are surrounded by it, engulfed within it. It becomes at times incomprehensible, indistinguishable, illogical; it becomes noise. The story, both recorded and live, now layers atop itself, repeats, and breaks out. The artist’s image emerges and dissolves within the thick texture of the distorted video behind him; the artist’s voice emerges and dissolves within the thick texture of the distorted sound coming out of the speakers. Everything becomes extremely murky and the feedback causes profound glitches that refer to the density and imperfections of the information being presented. After about 25 minutes it all gradually ceases. We are returned to the clear video and audio of ocean waves as the data waves seem to roll back into whatever world they came from. We applaud like mad.

After the Post-Static performance, Jon posted a video of ERRORRUNNINGWWWATERNOISES  online. I included an edit of this video within my .blacK~SSStaTic_darK~fuZZZ_dOOm~glitCH. program, a screening of water storms and digital sorcery that toured earlier this year.

Following is an interview with Jon Cates (formed through email and GDocs). We examine how ERRORRUNNINGWWWATERNOISES works within new media; how it interacts between memory and live experiences; his use of noise, glitch, and feedback; and the concept of water. We also talk about how the piece might work as a portrait of the artist, and how the documentation of ERRORRUNNINGWWWATERNOISES, as a video online, works to perpetuate the artwork’s message. Enjoy!

ERRORRUNNINGWWWATERNOISES video stills. Image courtesy of Jon Cates.

ERRORRUNNINGWWWATERNOISES video stills. Images courtesy of Jon Cates.

Amelia Ishmael:
So, what do you think? Did I present and recollect your presentation of ERRORRUNNINGWWWATERNOISES accurately?

jonCates:
yes, w/ vry kind genorosity && details, so much so that i almost felt as if i was there myself 🙂

beginnings are part of the process. my processes are integrated as living aspects of the ongoing project of life in these worlds. streams + feeds push data my way from those im connected to + i push currents in these self-same datastreams, living through interdependent systems online && away from keyboard

i receive inputs, process them, make/remake/demake through those further processes, output them, feedback forwards + back agains through those in known, new + unexpected directions…

witch is to say: err, how can beginnings permutate endings when permutations continue beginning?

AI: The ERRORRUNNINGWWWATERNOISES video was posted on your GL1TCH.US website with a PDF of stills and some text, which was not presented at the performance. Here you state:

as Douglas Kahn says in his Noise, Water, Meat: ‘Water flowed in the arts prior to midcentury, of course’ + by this he means not our century but the century before ours ‘but it was restricted almost entirely to programmatic, depicted, or discursive water: water music, water scenes, water talk.’ i want to make this a realtime water talk, flowing in datastreams of mountainfalls / if almost a memory alrdy

The references Kahn makes are to representations of water: in music, in photographs, in literature. Both he and you point out that these things represent water or work with water, but are at best similes of water; they are heavily mediated and stylized. In your performance, you offer a metaphor: Water as Data or even Data as Water. By doing so, you catch the active qualities of currents and undercurrents, undulation, fogginess, mirroring, time-driven experience… maybe even its enigmatic beginnings and endings! Do you agree?

jC:
yes! && again, thnxxx Amelia, yr interpretations are wonderful && mean a great deal to me as you are exxxpressing exxxperiences from my work that i am most certainly attempting to create for myself + those that encounter my work in varied forms. as you say, these projects are performed live, recorded, reworked into new instances + edits. they form a TRANS()RYPT/-n.inn.D.()RYPT’d – wit SAMPLES / SECTIONS FROM: 15 years of Realtime media / performances across water/noises. these projects are repeated/remixed/reinterpretated… formally my projects dirty distinctions between realtime audio-video performances, exxxperimentalLectures, Dirty New Media Art, glitch, Video, Noise musics, txts, codeworks, publishing, etc. i am making works in multiple physical + digital file formats, using various mediums + transcoding across them all in order to convert, downsample, bitcrush + otherwise alter or make available the materials in multifarious +/or polymorphously perverse forms that can help to decentralize, distribute && multiply these messages

further down the rabbitholes && into the wormholes, i would say that my multi-form outputs are often always alrdy inputs in ongoing systems of feedback/feedforward

openness to constant revision is also a specific property of New Media / Digital Art as has been claimed by a # of New Media theory-practitioners for 20 or so years. now (esp digitally) works are never closed (complete/finished) but always open. my process is most often that i concept work in advance or i commit to processes which result in or in your words resolve into the aestheticonceptechniques (*) that are embedded in the work +/or that are the work itself. often my concepting of the work is a lengthy discursive project + my executing of, or production of, the work is faster, dirtier, more digitalPunk + immediate

ERRORRUNNINGWWWATERNOISES still frame. Image courtesy of the Jon Cates.

ERRORRUNNINGWWWATERNOISES still frame. Image courtesy of the Jon Cates.

AI:
How does ERRORRUNNINGWWWATERNOISES interact with water and furthermore, how does water and memory interact with one another in the piece?

jC:
ERRORRUNNINGWWWATERNOISES uses the snds of water + the pre-glitch snds of analog static or white noise (as you identify currently as being motivated by reference to cosmic microwave background radiation). the snds of waters are sample based + simulated as are the white noise + static

when asked in an interview i did in 2010 abt how i keep up in these here Technological Times, i replied in part: swimming in the cold Austrian lakes of the Salzkammergut region. those Austrian lakes are more the material of memories now but earlier this year, in another interview, when asked “What do you do in situation’s of creative block?” i replied: “swim.” so these recurrences point towards the waters as spaces of relaxation, refreshment + return for me. i am drawn to various waters repeatedly

Chicago, home of Dirty New Media AKA CH1C∆Gø D1RTY N3W M3DI∆, is a city on a lake + fortunately this lake is such that most often 01 cannot see the other sides, giving me an oceanic feeling even though i know that even the oceans are constrained by continents. i do love to go to the other sides of this lake, swim + look back @ the Chicago skyline from across the waters

&& warez i swim in Lake Michigan, the water can look/feel clean but it is bracketed by factories + a nuclear power plant; meaning that these waters are a dirty media made by us as a built-environment in these here American Midwastelands, to keep the lights on, the fires burning, manipulating our assumptions of the categories of the natural + the technological along Rustbelt rivers, wandering, what flows beneath the surfaces

AI:
Have you worked with the concept of water’s relationship to your practice before?

jC:
yes, directly in my “A Prospect of The Dispersive Anatomies“.
“A Prospect of The Dispersive Anatomies” is a txt wwwritten for the Dispersive Anatomies special issue of Leonardo Electronic Almanac, co-edited by Alan Sondheim, mez breeze + Sandy Baldwin. “A Prospect of The Dispersive Anatomies” finds me in a remixological relationship to Dylan Thomas‘ short story “A Prospect of The Sea”. these are operations inna [diaristic/discursive] mode, opening [ports/channels/paths] [into/out of/through] fluid form-(all)-ations of Dirty New Media Art making, broken codes + unstable {mesh| net|art}-works of meaning/desire. during the process of this txt / exe.cution of this codework, i set out to problematize the naturalization of the network as a biological model/metaphor. i am also [decoding/recoding] a personal archive of memory-fragments; attempt a re:build, contingent on if these fragments can cohere + float [away/apart] from each other without ever falling in/out of love dispersed anatomies co-exist + are available as identities.

retelling Dylan Thomas’ “A Prospect of The Sea”, my “A Prospect of The Dispersive Anatomies” re:animates + re:inhabits various open mouths made from lexical bodies of works, trying to speak through their encoded personal vocabularies like dead fingers talking. told from shifting subjective perspectives, this txt-wwwork sets out to articulate ghostly stories of haunted media across undead bodies of {mesh|net|art}-workings: http://gl1tch.us/AProspectOfTheDispersiveAnatomies.html

AI:
In ERRORRUNNINGWWWATERNOISES, before your live performance begins interacting, the visuals and sounds of water dominate. This water, at times, transforms into electronic noise. Visually, it takes the form of static or “snow” that cathode ray tube televisions used to present us with when signals were lost. Now, there are numerous origin stories that begin with water, and the sound and visuals that we associate with static have been described as cosmic background radiation, as the radiation emitted from the “Big Bang”, another origin story. Are you using the water metaphors as a reference to origins or fundamentals, or, or?

jC:
yes, the work is a literal return to an earlier origin of the work. in that sense i am also directly engaging w/ memory as yr earlier question raised. memories + origins also get watery, get flooded or frozen, float away or swim back to shore, get shored up, weather storms, find safe harbors, && a list of numerous other watery metaphors or turns of phrases or sayings that are themselves ways of making relations w/ water

AI:
The question we die to know: why are glitch and water so perfect for one another?!?

jC:
beautiful question + i agree. i go into this from the perspectives of frozen waters in my .¢/-/ΔP┼3ΓrδΓ.#cDPKtYgT; of GL1TCH.US, “from @sterlingcrispin to @slashdot : misunderstanding as/if #glitch +/or #noise in experimental New Media Arts”. for me the connections (in that chapter @ least) are most correctly / directly rltd to Noise (rather than glitch). but i suppose an answer to this is the instabilities, the state changes as a dynamic flow. glaciers, in this case, can have meltwaters streaming + flowing through them, becoming rivers, allowing the glaciers to move, to shift in their instabilities. meltwaters can rise + gather, pooling as they melt. these are layered waters in various forms, coexisting in complex relationships that are visually beautiful in their inhuman harshness && sonically amazing as they crack + moan during calving. glaciers moan before calving (a term intentionally chosen to relate the breaking to birthing). glaciers are also constantly moving, starting + stopping && changing states in various levels / layers of details. meltwaters can refreeze, then later, crack open again + run
this is beautiful

Image courtesy of the artist.

Screenshot of ERRORRUNNINGWWWATERNOISES Remix production.
Image courtesy of Jon Cates.

AI:
After your realtime presentation(s), you uploaded a video of the performance [the embedded video which opens this interview], and I am curious, what you think of its afterlife? Because the piece so directly mentions that the data (the VHS) has a time and place location, the internets might seem to release these boundaries or definitions. I realize this question is a little dim-witted as many artists document performances and release video documentation, so maybe it is solely a choice to archive and share. But entertain me? Is the online video an extension of the content presented? Does this video create meaning differently (maybe even create different meaning) in this new framework?

jC:
archiving, sharing, distributing, releasing, self-publishing, versioning, remixing, reworking + making new instantiations are all motivations

the works i release as documentation are almost never simply ‘documents’ in the sense of direct documentation of an event. i enjoy moving through modalities of meaning, modulating signal to noise ratios in communications for variously poetic affects. there are times when i modulate the Noise up to a degree that overtakes ‘the signal’ + this is of course intentional choices. ppl have different thresholds so i get told by different ppl @ different times that my choices make the experience of the work more or less legible, decipherable, accessible, affective, communicative, etc. ppl will sumtimes say: ‘i couldnt understand what you were saying’

of course, this is choice on my part, to use the exxxperimentalLecture as a format that makes more or less ‘sense’ + is more or less messy, dirty or noisy in terms of communicative ability. but the point is almost always also to attempt to work on various affective registers, hopefully building experiences for myself + others. these experiences are often related to a field effect in which i create an open system, that is open enough for ppl have their own experiences of inside of as it is occurring

as others have pointed out abt my work, those systems are not always / ever under ‘control’ altho control is part of the system or scenario. forms control + submission are @ play in the work. i am playing w/ my own systems, pushing them towards their own tipping points: pulling them back in, damming them + releasing their unstable flows as i navigate them

the production of these specific types of instabilities are produced in a # of different ways in my work, including working w/ obsoleted or inappropriate technologies, screen recording while multithreaded processes are running on the same computer, using Markov chains on the txts, exploiting Dirty New Media techniques && glitching. as Jake Elliott + i said in an interview abt our 0UR080R05 project: We build brittle systems with breaking points that can be mobilized during performances to be theatrically broken on stage, in sound + through realtime audio-video artware

or as Kodwo Eshun says: “Remixology is the science of continuation and the art of drastic remaking, total remaking”

mayhaps these waters connect +/or coalesce, running thicker than blood, slowwwing dowwwnstreams: remixt && glitcht fragments as if frozen crystals in perpetual parrallel alter-dimensionalities are caught. reflect/refract themselves. fragments are seen to be re:assembled then in the state of this soft machine, as it were: realtime. conversational. a machine for talking to each others. the art will become. processing feed-{back|forward} systems themselves proliferating into parallel alterdimensions, repeating themselves differently next to themselves

Jon Satrom (left) and jonCates (right) at Post-Static Q&A, Intuit, Sept. 20, 2012 . Image by Shawne Michaelain Holloway.

Jon Satrom (left) and jonCates (right) at Post-Static Q&A, Intuit, Sept. 20, 2012.
Image by Shawne Michaelain Holloway.

AI:
When we are witnessing you making this performance live, it is difficult to separate the performer and the artist. Within the online  video you chose to keep Christie LeMaster’s introduction of you as the performer. Your image reappears throughout the work, is folded within the work (narratively, visually, acoustically). How did this incorporation begin, and what appeal to you about this direct reference between performer and artist?

jC:
Christy LeMaster curated Post-Static, so hers was the invitation to re:consider static from a ‘post’ perspective. this was the ways in which ERRORRUNNINGWWWATERNOISES began. so she is an important part of the context witch i enfold into the work as part of the work itself

as you say, ERRORRUNNINGWWWATERNOISES was/is also a way of returning to an earlier work + instantiating it again live in realtime, remixing the original content (from 1997) in a new form, pouring the older media through new lens, knew filters for addressing analog glitches as Noise Art & Musics

i work at the intersections of experimental Media Art && Noise Musics + am partially making specific claims abt that crossroads && what can happen there, what mysteries && majixxx

for me standing in that position within the work is important + meaningful as it means taking an overt responsibility for specific position, a stand within + through the work while talking out through the + to the machine is made to connect us to each other in these conversations

then there is also the use of myself as a part of the unstable media, part of the material that i have to work w/ from a performative perspective of these works as performance

additionally, an important aspect of realtime audio / video in Dirty New Media for me, is a digitalPunk approach to being directly present in the work in similar ways in which a Noise musician, esp in the category of Power Electronics, would be personally present. this direct presence in the work makes one personally accountable + communicates intensities + urgencies

the term ‘realtime’ here refers to receiving + processing a continuous signal at the same rate as the signal is produced. contemporary computers are able to produce + process datastreams (i.e. audio + video) in realtime. These realtime systems thereby allow digitization (sampling from the analog), resampling, transcoding, synthesis, generation of borndigital data + feedback (which is itself often a feature of Noise musics). live performance interactions w/ these audio-video systems + streams can recurse, like codes falling infinitely in on/of themselves, flooding stacks + overrunning buffers that break like eggs + leak memory as if it was (at least linguistically) fluid. unstable fluids fill unstable media, awash in memories made warm while washing back over themselves in re:beginnings, re:starts, rippedUp && sung again in an operation of rendering decodings via realtime cut-ups… re:started… re:connecting: disconnects && discontents. as the re:starts recurse they then they overlap loosening + eventually escaping overcontrols err caught inna flows which force currents, washed underflows, along an idea of warez we were a moments ago, in futures past

ERRORRUNNINGWWWATERNOISES still frame. Image courtesy of the Jon Cates.

ERRORRUNNINGWWWATERNOISES still frame. Image courtesy of the Jon Cates.

AI:
I want to recall that, when ERRORRUNNINGWWWATERNOISES was performed at Intuit, that you handed out a Xerox of the script that you recited. The script describes the origins of the artwork, but I can’t seem to find it anywhere now. Whether this origin history to the piece is true or not is beside the artwork, because here the telling of the history seems to become the artwork… the artwork communicates reflections on personal history and archives and memory, the blank spots within memory, and the re-membering or discovery of these places (and objects). These blank spots are like potential spaces, transitory spaces, where strange things happen. What happens in these places?

jC:
you are correct that this is an elusive en{crypted|coded} script. this script itself exists as a fragment reassembled from memory in the document you refering to, witch is itself also a remix of the content of the projects / performance. in it i write:

if @ least a memory @ all of fragments when i was in Amsterdam for the 1rst time, watching reflections then, after having been in a realtime event, we were reflecting on the ways in which simulations are made to make water music, water scenes, water talk. or mayhaps now rather waternoise in feedback + feedforward patternings like the last time i was in Amsterdam w/Rosa Menkman who took me to the waterscene of a glitchscene, a favorite place, similar to before, nearby even. she took me to see a realtime version of a waterscene she rendered inna glitchscene in which she said: slowly vanishes in these ruins… only to survive as a trace… a memory left onto other connections…

these references / associations are sumwhat obscured / obfuscated mayhaps for poetic affects + personal reasons but i will annotate them in order to answer a couple of yr questions more thoroughly then that txt chunk could:

‡ if @ least a memory @ all of fragments when i was in Amsterdam for the 1rst time,
[2003]
‡ watching reflections then,
‡ after having been in a realtime event
[SonicLight 2003]
‡ we
[Lisa Slodki + i]
‡ were reflecting on the ways in which simulations are made
[after having experiencing presentations, i.e. by Golan Levin, of the ways in which New Media artists were / are working towards simulating ‘natural’ analog physical processes such as fluid dynamics in their projects, we walked along waters edges in Amsterdam. we watched the light easily + softly reflecting + refracting off of the water. Amsterdam was imaged in these waters, reflected, mirrored, rippling w/ currents. it was good to watch those waters + consider the ease w/ which this analog process was functioning. now that i am recounting these memories, it occurs to me that these are observations based on the potential for control in the systems + interactions. mayhaps the water associations of “water music, water scenes, water talk. or mayhaps now rather waternoise in feedback + feedforward patternings” hold my fascinations b/c of the uncontrollabilities of those ‘natural’ systems. this is certainly my attraction to glacial flows, i.e. that the harsh noise of glaciers is a reminder of the threat of deep brutality towards our comparative human fragility in the face of those frozen water forms. this is also a part my attraction to the oceanic, in the experience of an uncontrollable limitlessness of scale that dominates the field of human vision from the shore, holding either literal unmeasurable limits below in the case of the depths of the ocean or at least the sensation of such fathomlessness below when out over the oceans. these are experiences that would mayhaps have been previously associated w/ the Romantic, w/ the Sublime. these feelings may also be associated from a Lovecraftian perspective w/ a boundary between sanities + the dangers inherient in the Cthulu-mythos. in any of these cases, there is a central recognition of the scales of water beyond human controls. i am vry attracted to these systems that involve emergent + chaotic patterns, however, i am not a Nihilist or a Discordian. for me there is an honesty to water on these scales, an honesty in recognizing these systems as being beyond our human limits.]
‡ or mayhaps now rather waternoise in feedback + feedforward patternings like the last time i was in Amsterdam w/ Rosa Menkman who took me to the waterscene
[…in 2009 i returned to Amsterdam again, reading Kahn’s Noise, Water, Meat + visiting Rosa Menkman. Rosa took me to the scene of a scene from her “Collapse of PAL“, a place she had shot as i had shot water in 2003. this waterscene is ‘of a glitchscene’ in that this scene is now known in international glitch communities + associated w/ Glitch Art as are Rosa’s projects more generally]
‡ of a glitchscene, a favorite place, similar to before, nearby even.
[SEE ABOVE]
‡ she took me to see a realtime version of a waterscene she rendered inna glitchscene in which she said: slowly vanishes in these ruins… only to survive as a trace… a memory left onto other connections…
[the phrases here @ the end of this quote are quotes from Menkman’s “Collapse of PAL” (as linked abv) in which she plays the Last Angel of History + rephrases / reframes / reiterates Walter Benjamin, recontextualizing him into (Menkman’s phrase) glitchscenes. Rosa took me here to show me 01 of her favorite places, a place she has shown glitchscenes through the “Collapse of PAL”. this place is on the harbor in Amsterdam, along waters edges. 01 can swim there but we simply sat + talked abt Chicago, glitch, Art + drank beers]

but i didnt say this before

AI:
According to the story you tell within the performance—as the performance, I should say rather—this remixed video that you wanted to make (but then found you had already made) meditates on water and becomes the foundation for the piece. The performance seems to be made on top of this remix, and then mixed within it. Rather than telling the story linearly, this story was buried and revealed within the performance (and then woven in once again within the video made after the performance). Time, within the performance, mimics memory time. How does this relate to the format of the presentations?

jC:
mayhaps …slipping underneath the surface, a flow below the base of the structure?

AI:
In a way which increases this notion, the audio (your voice becoming “water noises” is used as an instrument, it is layered and recorded and played back and looped… the voice is in the foreground and then moves to the background, switching places with the water noises… Am I recalling it correctly?

jC:
yes 🙂

AI:
In this performance, and in your earlier work, the artwork often seems to take the form of manifesto, referring back to itself as a form of activist tool that reinforces your ideas on noise and glitch. The processes make an aesthetic that is becoming recognizable as a trait of new media and/or dirty new media. Yet, you seem to reinforce the importance of experience by taking an instructional role, which expands into your artwork. Within your artwork you often assume the format of the lecture to teach your audience what is happening, how to analyze what is happening, how and why it is happening. Perhaps this happens also because you frequently organize and present new media art events and are asked to introduce it to the unawares, to continuously explain yourself, which might continuously prompt you to redefine yourself. Would you agree?

jC:
yes, this is part of being an educator + artist, whose work crosses over between those categories. i am, as you say, often exxxplaing myself as a self-referential && self-reflexive art form. these redfns are also part && parcel of the faxxx that projects change over time, they ebb + flow. they also come + go. as do collaborations. collaborations are particularly relevant to my theory-practices. i previously collaborated more than i do now. people collaborate for various reasons: love, desire, friendship, mutual benefits, complimentary skillsets, professional advancements, personal reasons, etc… in the past i was able to collaborate w/ various groups that i formed in projects that i initiated. a few years ago i felt a need to focus less on that approach + recenter. i continued to collaborate occasionally w/ a few of my most trusted + closest ppl
either as aspects of collaborations or as more individualized / individuated exxxpressions i am establishing a discourse through my projects. i have commitments to processes + ethics which make the connections to manifestos as you say a relevant reference point, however, a fixivity seems necessary inna manifesto which i am resisting to sum extents @ sum times, in favor of other fluidities, dynamics + state changes

AI:
In your interview with Sterling Crispin, you describe Dirty New Media as a “humanist perspective”. How does the media interact with your ideas of the individual’s experience?

jC:
i wouldnt call my exxxchange w/ @sterlingcrispin an interview, but rather a way of addressing his misunderstanding as/if #glitch +/or #noise in experimental New Media Arts
ERRORRUNNINGWWWATERNOISES was/is also a return to BOLD3RRR… Realtime: Reflections + Render-times, an exxxperimentalLecture / realtime audio-video Noise && New Media performance i gave at Boulder Museum of Contemporary Art via Skype for their MediaLive 2012 event. i was invited to present in this event but i was unable to physically be present. i was rdy to decline but the organizers were vry interested in having me participate so i streamed in via Skype from Taipei (hence the description of the event as ‘from Chicago to Taipei to Boulder + back again’)

the video stream into Boulder Museum of Contemporary Art was beautifully slow, buffering, glitchy, noisy. i was also (screen + camera) recording myself as i streamed into Boulder from Taipei. quickly after the event i edited + created the video “BOLD3RRR… Realtime: Reflections + Render-times by jonCates (2012)” as a processed document of my performance. almost all of my video documentation of live performances / realtime audio-video Noise && New Media projects are affected / edited / processed in order to be more directly exxxpressive of the feelings, sensations, experiences + intended aestheiconceptechniques (*) involved in these works
Sterling Crispin attending the performance i gave at Boulder Museum of Contemporary Art && thats warez that moment became enfolded in the ongoing iterative + instantiated process…

* aestheticonceptechniques is a term i have developed + deploy as an extension of Kodwo Eshun’s term ‘conceptechnics’ as he uses it in his 1998 book More Brilliant Than The Sun. Eshun developed the term to signal interdependencies + deep interrelations of idea + form. Similarly, i use ‘aestheticonceptechniques’ to articulate my perspective as a theory-practitioner, engaging the interdependent technosocial relations of aesthetics, concepts + techniques.

AI: Thank you Jon!

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