Six Seventy-Two Variations by Tomonari Nishikawa
This is the second variation of the on-going 16mm film projector performance piece, “Six Seventy-Two Variations.” Nishikawa uses a wood carving knife to scratch off the photographic emulsion of the looped film and produces visual and sound as a live performance.
Tomonari Nishikawa’s films explore the idea of documenting situations/phenomena through a chosen medium and technique, often focusing on process itself. His films have been screened at numerous film festivals and art venues, including Berlinale, Edinburgh International Film Festival, Hong Kong International Film Festival, International Film Festival Rotterdam, London Film Festival, Media City Film Festival, New York Film Festival, Singapore International Film Festival, and Toronto International Film Festival. In 2010, he presented a series of 8mm and 16mm films at MoMA P.S.1 Contemporary Art Center, and his film installation a, Building 945, received the 2008 Grant Award from the Museum of Contemporary Cinema in Spain. He served as a juror for the 2010 Ann Arbor Film Festival, the 2012 Big Muddy Film Festival, and the 2013 dresdner schmalfilmtage. He is one of the co-founders of KLEX: Kuala Lumpur Experimental Film and Video Festival and Transient Visions: Festival of the Moving Image. He lives in Japan/USA, currently teaching in Cinema Department at Binghamton University.
Prepared Desktop by Jon Satrom
Jon Satrom’s Prepared Desktop leverages the digital defaults and mundane functions of our technologies. Scripts, presets, and glitches collide as he tickles the edges of his OS.
Jon Satrom is an artist, educator, and organizer who problematizes old and new media structures, interfaces, and conventions. He is a kludge artist and a creative problem creator. By day, he fixes things, interviews folks, and creates digital tools at studiothread. By night, he breaks things in search of the unique blips inherent to the systems we use.
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!.)
He has performed, workshopped, and lectured across spaceship earth (at places like: STEIM, Amsterdam NL; musicacoustica, Beijing CN; transmediale, Berlin DE; The Museum of Contemporary Art, Chicago US; Centro Multimedia, Mexico City MX; SXSW Interactive, Austin, TX US ).
ΔV/ΔT by Jonas Bers
ΔV/ΔT is an ongoing single-channel audiovisual composition performed entirely and exclusively in realtime, primarily with tools designed by the artist and built by hand.
Pronounced “DELTA V, DELTA T”, ΔV/ΔT is the formula for acceleration — change in velocity divided by change in time.
ΔV/ΔT is concerned with connections between the technological singularity, sensory perception and the physical universe; and phenomenological aspects of intense audiovisual stimulus.
Jonas Bers is a New York based media artist working with hand-built and hacked audiovisual systems. Bers’ performances use salvaged scientific apparatus, VHS-era editing machines, surveillance equipment, and military surplus devices as tools to generate both sound and video in real-time.
Bers has performed and exhibited at Sonic Acts (Amsterdam), The New Digital Art Biennale (Ghent), Vector Hack (Zagreb, Ljubljana), Hack’N’Act (Modena, Ferrara), La Lumière (Montreal), and in numerous NY cultural institutions, notably, The Film Society of Lincoln Center, La Mama, The Chashama Gala, and the Transient Visions Festival of the Moving Image.