Black Hole Club curator Antonio Roberts organises a series of digital labs, workshops, screenings and site visits in partnership with other arts organisations and artists including:
Creative Coding for Live Visuals: Dan Hett
17 June 2017, 12.00-17.00
BAFTA-winning digital artist Dan Hett
brings his computational creativity crash-course to Supersonic! Aimed at complete beginners, this course will take attendees on a colourful and interactive hands-on journey into making noise and colour with a computer. The course will firstly look at livecoding visuals and noise in the browser using the amazing LiveCodeLab, and then heads into creating unpredictable and colourful drawing tools using Processing.
This will then be followed by a visuals “jam session” where participants will perform visuals against a backdrop of music by Leon Trimble aka Chromatouch.
No previous coding experience is necessary, but you will need to bring a sparkling can-do attitude and a willingness to experiment.
This event is £5+booking fee for Supersonic Festival ticket holders and £10+booking fee for general public.
In association with Flatpack Film Festival
As part of the Superseded exhibition Ollie MacDonald-Brown and Sarah Walden will be leading a Dirty Video Mixer workshop.
A Dirty Video Mixer is a simple video mixer, developed by Karl Klomp, that allows its user to mix two analogue video signals. Using nothing more than simple eletronic components a user can begin to explore the world of video mixing, VJing and electronics.
In this three-hour workshop, led by Ollie MacDonald-Brown and Sarah Walden, participants will construct their own 2 input Dirty Video Mixer from scratch and then be invited to test their devices using live video input and found footage.
The event costs £10+bf and is limited to 10 places. Participants should bring:
– A hollow object to house their Dirty Video Mixer. This must be no smaller than a soda can and no larger than a shoebox
– Moving image content on VHS.
Ways Of Something
9 April 2017, 12.15-14.30
‘Take a mashup of images historically specific to the 21st century, bring them into direct relation with John Berger’s 1972 critique of western art traditions (see Ways of Seeing), and with no cut corners you have Ways of Something. Conceiving this intergenerational commingling was Canadian artist and curator Lorna Mills, who incentivised 114 net-based artists to each contribute one-minute video snippets overlaid on Berger’s original script and voice-over’.
The resulting heady stew of animation, 3D rendering, gifs, film remix and webcam performance is presented in association with Flatpack Film Festival.
Our curator, Antonio Roberts/Hellocatfood (featured in Ways of Something Episode 2), will introduce the screening.
The screening takes place at The Victoria.
1 April 2017, 10.00-16.00
Vivid Projects is pleased to host a day of cross-border and creative collaborations with Birmingham Conservatoire’s NO FRONTIERS – a festival exploring the ways in which barriers are broken down through music. Drop by to experience visuals, music, film, performance, spoken word and much more…
Harm Roché van Tiddens WWW (What? Where? Who?/Wat? Waar? Wie?)
stenton.press font blu
Oliver Mack tokens of time
Patrick Ellis The Streets of Birmingham
Susannah Self Fuse
Andy Ingamells ABCDEFG! Why
compose new music when you could
compose new tweets?
Peter Bell & Cam Athanasiades tbc
Wilson Leywantono Space in…
Dan Cippico Warehouse Piece
Embodiment, augmentation and remixing
DONALD RODNEY: The Reimaging Lab
30 March 2017, 13.00-17.00
Join us for an afternoon lab of demonstrations and critical thinking considering the impact of digital technologies on the innovative British artist Donald Rodney. Artists, curators and technologists examine the artist’s final works, re-defined through embodiment, augmentation and remixing.
Mike Phillips, Professor of Interdisciplinary Arts & Director of Research at i-DAT, University of Plymouth | Ian Sergeant, Curator of Reimaging Donald Rodney | Antonio Roberts, new media artist and curator | Cathy Wade, interdisciplinary artist | Gary Stewart, artist and experimental sonic musician, former Head of multimedia at Iniva.
The lab explores Rodney’s digital practice in detail, and will interrogate the artist’s key technology enabled works originally produced in the 1990s, in a dialogue between contemporary new media and interdisciplinary artists and members of the original art making collective ‘Donald Rodney plc’ including Mike Phillips and Gary Stewart.
The 1997/98 works Autoicon and Psalms will be demonstrated and participants will be able to interact with them. Psalms is a wheelchair modified at the School of Computing of the University of Plymouth to perform repeated sequences specified by Donald Rodney. It uses 8 sonar sensors, shaft-encoders, a video camera and a rate gyroscope to determine its position; a neural network using normalised RBF nodes encodes the sequence of 25 semi-circular sequences of positions forming the trajectory.
Autoicon was a dynamic internet work that simulated both the physical presence and elements of the creative personality of Donald Rodney. After initiating the project, Rodney died from sickle-cell anaemia in March 1998. Ian Sergeant, curator of the 2016 exhibition Reimaging Donald Rodney will consider the research process behind a one year project with the participation of members of Wolverhampton Sickle Cell Care and Activity Centre (WSCCAC) to produce a response to this, doublethink (2015). Alongside this, Cathy Wade will present a dialogue with the ‘data body’ of Autoicon.
The lab will conclude with a presentation from leading new media artist Antonio Roberts, who considers the implications of co-authorship, authenticity and superceded technologies in revising and augmenting original works in the context of recent digital practice.
The Donald Rodney Lab is presented by Vivid Projects with the Digital Humanities Hub, University of Birmingham. Supported by The Paul Mellon Centre for Studies in British Art and University of Birmingham.