model: Rihkee Strapp
Iíve swear iíve followed the instruction but my heart canít close
A material and social glitch, a fashion show, a conversation.
Western mediated sources continue to extract monetarily from bodies by promoting those who represent only 5% of the population. In regards to fat representation, things have recently started to change, perhaps in part due to social mediaís ability to connect and create community. Youtube - an example of the hopeful politics of Web 1.0 now transformed and monetized into Web 2.0 with targeted ads etc - is perhaps an example of a shift in this structure of mediation; prior forms of mediation such as television advertisement + programming were critiqued or maybe internalized more locally. The platform has allowed many to connect, to critique, but also to reinforce problematic cycles.
ĎIíve swear iíve followed the instruction but my heart canít closeí is looking at this shift in mediation: the platformís history of extending connection and creating community, the support this has provided, as well as the platformís archive of problematic rhetoric.
model: Cameron Ghent
Iíd like to thank The Canada Council for the Arts + the Ontario Arts Council for their support.
Iíd also like to thank Gallery 101, Cindy Baker, Cara Tierney, Laura Margita, Danielle Tremblay, Rah, Rihkee Strapp, Cameron Ghent, Kim Kitchen, Robin McDonald, Alexander Rondeau, Elia Eliev, Andrea Campbell and Larry Weyand for all of the conversations + help over the course of this research-creation project.
Intagram Takeover @ N2M2L, Iíve swear iíve followed the instruction but my heart canít close
This work is engaged with technological functioning as material processes, data visualization, internet commentary and craft.
To make the necklace, I sourced a comment found under a video of someone crocheting a heart on YouTube. I inserted this comment in the ASCII code of the image (ASCII is a character-encoding scheme based on the English alphabet). The algorithm of the software reads the intrusion (comment) as if it was part of the ASCII and changes the image accordingly. This glitch process adheres to the proper functioning of the computer system, but interjects data from a social + mediated system of communication. The image transforms into a lush landscape of semi-randomized pixels and colours.
In the resulting glitch image, I found a formation of pixels and extruded an elevation from the data found in each pixelís HEX colour code. Every pixel has a colour, every colour has a number - every number becomes a point of elevation in the topography of the formation of pixels. The 3D model produced by this process was printed using bioplastics. What would have become part of a sweater was transferred into data and became a necklace. It adorns and envelops the body with a whole new set of signifiers.
Collaborative Sound, Media Art Network of Ontario's Cold Waters Symposium
documentation of collaborative sound performance during Media Art Network or Ontario's Cold Waters Symposium in 2019, still from videography by Cameron Lamothe
I was meant to mic some trees and create a site specific web of sounds, but... we got rained out. The festival organizers found a venue at St John the Divine, an Anglican church downtown North Bay. So, instead of trees, I mic-ed the benches and invited everyone in the room to make some sounds, throwing each bench's sound accross the room on an 8 speaker set up.
St-Louis de Zig-Zag, Foire d'Art Alternatif de Sudbury 6
documentation visuelle du processus et de l'installation St-Louis de Zig-Zag, lors de la Foire d'Art Alternatif de Sudbury, 2018
Organized by la Galerie du Nouvel-Ontario, the festival invited many artist run centers accross the country to engage and invite an artist to participate. I was invited by Gallery 101 to create a site-specific work over the course of a week during the 6th edition of the festival. The theme was asking for a consideration of our positions and responsibilities in relation to the land. Having grown up as a franco-settler about an hour away from Sudbury, I didn't know much about ťcole St-Louis de Gonzague (the site of the festival), so I did a bit of research and learned that the elementary school had an interesting history in language education for the franco-ontarian community. I decided to mic the building in an attempt to engage with the building (on unceded territory), the structure (its' historical and current state) and with our sonic presences walking through the de-commissioned school.
In the following documentation there are signs with the words Unceded Territory painted on them. This work was created by Debajehmujig Storytellers and was installed throughout the building as well as outdoors.
Unceded Territory by Debajehmujig Storytellers, 2018
The title of the piece 'St-Louis de Zig-Zag' was borrowed from a chant children would sing in the school yard when the school was still in operation (told to me by someone who went to the school).
Merci au conseil des arts de l'Ontario pour la bourse d'aide aux expositions.
to slow down, to contain, to drift, shift + slide data within and outside the computer apparatus
This work is one of many processes, starting with the fabrication of a hydrophone to record the sounds of the melting ice on the Sturgeon River. The recordings were imported into a computer, shifted into a 3D model, printed with bioplastics, moulded with silicone, filled with water, frozen into ice, put onto a mirror on a pedestal and left to melt + evaporate into air.
a sound shaped drift
installation at the Middlesbrough Art Weekender - The Auxiliary POPUP space, England, 2017
a pliant twig beneath the sea is turned to stone above
These Data Shiftings were created off of the data contained in these audio excerpts, recorded with a hydrophone that I've fabricated. Below are excerpts of the audio, and a 3D printed formation of the pixels created off the sound data. The recordings were made on Musqueam, Squamish and Tsleil-Waututh Territory, at Jericho Beach in Vancouver.
on the velocity of its' working parts
My first data shifting in vertical form. I recorded the audio of Marx's Kapital being read out to a big red empty room at the 2015 Venice Biennale. I then shifted a constellation of pixels in the visualisation of the sound into a small red bioplastic object. I commodified the shifting into necklace form along with a certificate of authenticity that states the phrase recorded in order to make this formation : on the velocity of its' working parts.
the pixels in my face
This type of microphone records sound vibrations through the object it touches, not through the air. It was connected to my computer and recorded the sound of these performative actions. The pink and blue square is a video of the visual interpretation of the sound of my computer attempting to touch my face.
que l'espace s'effondre
'Anyse Ducharme evinces a similar interest in fragmentation and the interface between the image and its material support, but focused within the digital realms of data and image translation and processing rather than the physical world of the body and its (mis) representations. Often sourcing her raw materials from the web, Ducharme translates her chosen images and texts into code, splicing variant syntaxes (digital, textual) and generating out of this now glitch-ridden linguistic hybrid a new entity which is neither-and both-visual, textual, virtual, actual, and/or representative of anything real except the process of its own making. And yet it is in the artifacts and effects of the process-what gets lost and found in translation between sources and products-that meaning resides.
For instance, in creating que l'espace s'effondre (of collapsing space), Ducharme traces light's pathway between multiple layers of reality. Working from digital images containing screen-based reflections, she isolates the erratic forms, which themselves are based in continuously shifting conditions specific to the source and site of image and screen, and processes them in preparation for printing at monumental scale onto sheets of crystal clear polyester. The resulting image therefore originates in the emission of photons from photographed object to its entry into a capture by camera, to their translation into pixels and representation on backlit screen, to their interaction and combination with reflections on the screen's surface, to their selection and translation into ink on a clear substrate, to their interaction and combination with reflections from lighting in the gallery space, and finally to their entry into a capture by the viewer's eye. Borne of so many degrees of separation, the recombinant images embody multiple dimensions-chimeras made real, casting indexical shadows even as they embody a state of evanescence. When spontaneous errors in genetic transcription yield mutations that don't end up as fatal dead ends, they have the potential to advance whole species. Similarly, Ducharme's intentional interruptions, corruptions, and extensions of existing codes engender new and unexpected forms and functions for photo-based image making apropos to the age of the "migratory pixel."'
-Shani K. Parsons, excerpt from Proof 23 curatorial essay, Gallery 44, Toronto.
Variances of transparency found in wide circulation, slowed down, in an instance of transference; glitched, bent and sliding onto transparent material.
The image file is an assemblage of processes that form a visual iteration. It is only readable because your platform functions in such a way as to allow it to be read, and manifests a visual on your screen (if you can think of a jpg image as a solidified version of a set of processes). Your computer is in communication with its components (algorithms, programs etc.) in order for you to view an image. It is also in communication with the image that has been transferred to you - which also functions in a state of assemblages of processes that solidify enough in order to create a visual iteration on your screen.
You can still to this day go to the Arcade Restaurant in downtown Memphis buy a fried peanut butter and banana sandwich and sit where Elvis used to enjoy his, detail, 2012
These comments were taken from the internet and inserted into the images of their corresponding stars. The glitch line in some of these images attempt to interrupt the image's gaze, but ultimately function as a cycle as the comments used to created the glitch lines seem to regurgitate this type of mediation.
Conte de syntaxe internaute
This early work was created by taking comments left on youtube, to then insert them into the code of a digital image. The wording that you will see throughout the piece acts as a link to the next visual glitch created by inserting it into the digital image. The sound heard while hovering over the writing link was generated off of running the glitch visuals through a sound editor. This work is one of in-between, of translation and interruption.
The Quality or State of Being Real
This was my very first attempt at visual glitch. To make them, I sourced comments left under random videos on Youtube. These comments were whimsical, problematic, technical, paranoid etc. I then inserted these comments into the code of an image, which produced these glitch landscapes. The writing at the bottom or the side of these images contain the portion of the ASCII code that was altered with the language code from the youtube comments. Each image was titled according to the title of the video I found the comment under; they were printed at medium scale on backlight media.
comment Áa va?
When making this work I was interested in archiving these apparatuses, but by doing a bad job at it. I photographed a record, a cd, a cassette, an 8 track and my little pink mp3 player. I translated the image data of the sound machines I'd photographed into sound and stuck them on mp3 players equipped with earphones to make the glitch sounds available to the viewer. The wording describes what each thing is and was taken from wiki. The plexiglass was meant to give weight, or legitimacy to these badly archived objects of mediation.
pas de flanage, s'il vous plait
These are photographs of different computer motherboards. I was interested in the idea of the city and Baudelaire's flaneur when I set out to photograph these. Coincidentally, I came across the title for the series on a plaque at the Tim Horton's on Gloucester + Bank in Ottawa.
© Anyse Ducharme 2022