who likes to problematize old and new media structures, interfaces, and conventions. He is a kludge artist and a creative problem creator.
Satrom performs realtime audio/video noise and new-media (often w/ XTAL FSCK, I ♥ PRESETS, & Magic Missile), develops artware (in partnership w/ PoxParty), and has co-programed and experimented with organizational and curatorial systems w/ dirty new-media && glitch comrades (including GLI.TC/H && r4wb1t5!.)
Starting with the hypothesis of a possible -- propaganda of innovation -- as one of the ideological driving forces of our era, the 2014 edition of the accès)s( Festival aims to explore the notions of global digitalisation, technological fetishism, obsolescence, artificial intelligence – as well as their potential diversions and appropriations – from a critical point of view, through artistic and theoretical propositions. This edition will take the form of both an exhibition and an event consisting of concerts, performances, conferences, screenings and workshops.
A glitch-based approach that embraces bugs within unstable systems is at the mercy of the platform or system being leveraged. A perpetually beta world has proven fruitful for the glitch artist. However, lurking around every software update, patch and/or OS release are “fixes” and “improvements”, rendering glitch techniques and tools “broken”. There is a constant tango between the commercial promise of perfection and the artists who choose to celebrate the loose ends, corporate kludges and software glitches. Satrom’s work spans over a decade of new media upgrades, honoring obsolete exploits, developing new implementations while leveraging ever-present technological failures.
Long removed from its origins as an analog/outsider art form and DIY aesthetic, glitch art now comprises a wide spectrum of technologies and iterations. From broken television signals and smeared photographs to data manipulation and hijacked software code, when the composition, perfection, or rhetoric of an image or program is interrupted in the moment of its delivery, either through chance or intent, glitch happens. And within this failure to communicate lies a multitude of paths to communicating differently, exposing alternate messages and narratives, differently-abled continuities, and the opposite of context.
ESS is pleased to present Dan'l Boone, a new ensemble featuring Charles Ballas (Formant), Neil Hagerty (ex-Royal Trux, Howling Hex, etc.), Nate Young (Wolf Eyes, Regression, etc.) and Alex Moskos (Drainolith), in an intimate concert at the studio. The group's debut self-titled record will be released on 9/23 on Drag City records. Former proprietor of Enemy Jason Soliday will open, joined by special guests Alejandro Morales (drums, electronics) and Jon Satrom (video).
Jon Satrom && Ben Syverson have been involved with collaborative new media projects since the turn of the century. Since the release of the Satromizer AfterEffects Plugin in 2001, PoxParty has revolutionized and leveled the playing-field for new-media artists to create, control, and optomize glitches. PoxParty's proprietary suite of creative tools make being a glitch artist more productive than ever.
Since 2003, I ♥ PRESETS has developed an elite lexicon of digital detritus. From circuit-bent video to video art games, home-brew gear to readymade drum machines; I ♥ PRESETS celebrates the decimation of the resolute, leaving a dirty new-media mess in its wake. By doing everything wrong the right way, I ♥ PRESETS kludges forward, never ceasing to have critical updates available… Rob Ray (Los Angeles, CA, US), Jason Soliday (Chicago, IL, US), and Jon Satrom (Chicago, IL, US) are excited to be reunited for glitChicago.
"The Emperor's New Aesthetic", co-curated by David Fodel and Matt Jenkins. The show pokes fun at the burgeoning institutionalization of "the new aesthetic", "post-internet" and "new-media" art in general, while still acknowledging the potential for cultural, political, economic and aesthetic intervention inherent in control of access / protocols / networks.
Over the past decade Chicago has enjoyed a reputation as a center for artists within a worldwide subculture of experimentation in electronic media. Knit together by global communications networks, the tendency known as “glitch” or “glitch art” centers around the noisy and colorful errors propagated when electronic media systems and digital encoding are unexpectedly interrupted or misbehave.
"To operate, to materialize, to realise, to produce; it seems that this ought to be the perfect destination for
every thing: to transform by a progress- and inner necessity driven movement from the status of the possible to the status of the real." Frontviews would like to investigate the possible connection of Jean Baudrillards argumentation in "The Intelligence of Evil or the Lucidity Pact" on phenomena and tendencies of contemporary art...