This post is part of Wavelength, a series of guest curated sound art and music mixes.
On December 2 and 3, Rhizome will present Rendered/Realtime,a series of 24 interactive animations designed and developed by Vince McKelvie. The works are displayed on the front page of Rhizome.org, occupying most of the browser window save for a minimal header and footer. Created specifically for this context, Rendered/Realtime uses a technique adapted from video game graphics, the sprite sheet, to allow the user to rotate, move, and deform rendered animated gifs in real time. Rippling and undulating, riffling and turning inside out, McKelvie’s 3D forms defy easy visual comprehension, landing somewhere in between liquid geometric abstraction and sci-fi fantasy.
The following images are selections of the artist’s output between 2010 and 2012. Christian Oldham (aka MEGAZORD) produces sleek, dark, cyber dystopian computer assisted imagery, with a prolific output on various social platforms.
Paperrad.org was the website of the influential and prolific collective, known as Paper Rad. Comprised primarily of members Ben Jones, Jessica Ciocci, and Jacob Ciocci, Paper Rad (active 2001 to 2008) produced a complex output of comics (in book, zine, and web form), animation, performance, installation, bands, albums, international tours, and more. Their website served as a crucial content distribution hub for an international fanbase in a time that predated popular web 2.0 platforms. Paperrad.org evolved and developed over the years as a labyrinthine archive of the collective’s output.
This album experiment start as a call from the director of the of Institute of viral sonology Hugo Paquete. This call consists in exploring the potentiality of the computer as an automatic machine to generate compositional material and aesthetics content base on stochastic probabilities.
This piece emerged from Murata’s body of work that pioneered the highly influential practice known as “data moshing”. Murata edits and strategically removes certain data from from .AVI digital video files, creating undulating and living fields of video, here the source being Mario Bava’s 1960 horror film, Mask of Satan.
Left: AOL, about the time the internet and I first met. (Remember that sonorous modem music? The sound of the future!) Right: AOL now (yes, it’s still there). With lotsa “headline news” on household health hazards, amazing pet stories, and shocking-yet-true dramatic personal episodes of total nobodies.