joncates

The Dec. 16, 1951 episode of See It Now on CBS News features Edward R. Murrow theatrically performing a realtime cybernetic network/teleconference call in which he performs a staged conversation with the WHIRLWIND Computer at the MIT Digital Computer Lab, then speaks with Jay W. Forrester (who identified himself as the Director of the Digital Computer Laboratory) about WHIRLWIND. Then Murrow performs another staged television phone/video call to The Pentagon, adding Admiral Calvin M. Bolster (Chief of Naval Research and MIT Alum) to this orchestrated conference call. This show now hinges on an image of 3 cities networked, interconnected, with players/performers/actors who function as representatives of a complex network of interests, simultaneously competitive and mutually interdependent. The map enunciated by each actor names the cities connected in this performance of technological powers: New York as the central hub, Cambridge as the next node and Washington as the final governing seat of power. Live from Washington, Admiral Bolster (who apparently believed UFOs to be extraterrestrial and the official policy of secrecy to be a mistake) directly assigns Forrester a task for WHIRLWIND in which Forrester is asked to calculate weapons effectiveness (trajectory, fuel consumption and speed) for a US Viking Rocket (as built by the corporation that would become Lockheed-Martin). Appropriately tasked by the Military, the Academic performs his function in relation to the questions of Industrial effectiveness of the killing machines and delivers these answers as part of an Entertainment product. As such, this episode of See It Now not only performs but also publicly enacts the Military-Industrial-Academic-Entertainment Complex for television viewers in 1951 and now “from the vault” of MIT’s archives online since 2011. - jonCates (2015) #CALCULATIONS


Readymade ~ For My Soul

“Hello,” said Marcel Duchamp, who had just traveled through time from the early 1920’s.

“Marcel Duchamp!” said jonCates. “You look like you just traveled through time from the early 1920’s!”

“Indeed I have,” replied the attractive french artist. “I was working on The Large Glass and it’s artistic awesomeness was so profound it caused an explosion in the space-time continuum that propelled me here. What is that?” he asked, gesturing at jonCates’ open laptop. The browser on the screen was open to a page titled MARCEL DUCHAMP WHAT A SEXY GUY OMG.

“It is definitely not a fansite where I was uploading explicit self-insert fanfic about myself and you set in an alternte universe based on the hit musical The Phantom of the Opera,” said jonCates, as he hastily typed in the URL for his tumblr. The sound of a midi version of “Love Never Dies” was abruptly cut off as his tumblr page loaded and pictures of naked ladies, lolcat gifs, and neon blinking skulls filled the page. *Awwsum*, he thought. *This is way more normal.*

*Shit I hope I saved the edits to that last chapter,* his thoughts continued. *Jake Elliott’s suggestions really made it waaaay more romantikk. :)*

“jonCates,” said Marcel Duchamp, interrupting his impressive feat of thinking in emoticons. “Don’t you understand I was drawn through time to here for a reason?”

“…” said jonCates.

“For serious,” replied Marcel Duchamp. “Only the magic of avant garde artspeak will be able to send me back to my proper time period. If I can’t get back, then I won’t be able to complete my mission to make the artworld question what art really is or whether anyone should even care about it while cracking myself up with hilarious puns that museums will later enshrine under high security lasers -”

“- And then the movements which I pay homage to in my lolcat gifs will never have happened, causing a Conceptual Paradox!” cried jonCates. “Nooooes!!” he was forced to say himself, because he still hadn’t installed the Darth Vader NOOOOOO app onto his iphone.

“It will be a tragedy!” said Marcel Duchamp. “Or, well, not really, I’m pretty indifferent to art history. It’s just I that I had an appointment with Man Ray to do some Rrose Sélavy photos and I bought a new hat for them and everything. It’s very pretty.”

“I’m sure it is SUPER PRETTY,” cried jonCates with passion. “And I am going to get you back to your rightful cross-dressing time, and not just because otherwise it would ruin my rrose_selavy photos folder that I secretly loaded onto every thumb drive that I own!”

Soon jonCates had formed his Magick Circle out of seventeen different laptops, three beige PCs, seven Apple II’s, two Commodore64’s, one Vectrex, four old iMacs, and one V-Tech Socrates hooked up to an appropriately cathode ray-filled television (complete with blown-out speakers and a weird purple ring that glowed around everything it displayed on its screen). They all displayed flickering images of skulls, glitches, or adorable kittens, except one of the Apple II’s, which was set to a demo of computer chess. And one of the PC’s, which was playing the original DOS version of Eye of the Beholder, “because Xanathar looks really cool.”

jonCates and Marcel Duchamp held hands in the middle of the Circle. It was a little homoerotic. jonCates thought about how he was totally going to use this in a future chapter of ‘Readymade For My Soul’.

“Are you ready?” he asked Marcel Duchamp.

“Sure,” Marcel Duchamp replied.

“OK.” jonCates took a deep breath. “What we are looking at is rilly a hybridization, a self-reflexive x-breeding of interfaces ++ connected threadz that becomes a social .doc in itself.” Marcel Duchamp’s hair and jonCates’ beard started to flutter in an Avante Garde Breeze. jonCates’s capital letters began to disappear as the Spell became stronger. “the majicks unfolding around us takes teh form of models for mediated x-change that transcend the historikally accepted receiver/transmitter structures. they 01: point out the otherwise invisible ++ normalised natur of that structure 02: question that strukture as the 1 + only method in which the individual [or group] can participate as owner/controller/master vs purchaser/cunsumer/slave 03: explore possibilities/alternatives within/without this strukture, opening up nu universes of artistic engagement ++ agency ++ community.”

The Avante Garde Breeze had now matured to a Serious Fucking Artistic Vortex. Bookshelves and skateboards shook along the walls while crumpled Cosi receipts were swirling through the air. The complete works of Deleuze and Guattari fell onto the floor with the force of this shit, that’s how seriously fucking artistic it was.

“jonCates!” cried Marcel Duchamp. “You have done it! There is only one more thing that must be done!”

“What is it, Marcel Duchamp?” asked jonCates, his eyes shining.

“We must seal the spell… with a kiss.”

“We don’t have to Make Love?” asked jonCates.

“No, a kiss will be enough to complete the process.”

“Are you sure?” insisted jonCates. “I mean, I would totally be OK with that if we had to do it. For… art.”

“Shut up and kiss me, jonCates!” Marcel Duchamp shouted. “I seriously have some cross-dressing I need to get to!”

“Wait, how can you be late for something if you’re travelling back in time to it –” but jonCates’s sensible theories on temporal mechanics were cut off as Marcel Duchamp pressed his sexy french lips against his own.

It was Awesum.

“Good-bye, jonCates!” called Marcel Duchamp as he was drawn into the vortex to his rightful place in art history and also his date with Man Ray. “Keep up the luls!”

“I will, Marcel Duchamp!” cried jonCates, as the vortex closed behind him. “I will.”

jonCates looked at the mess that had been his living room with a heavy heart. As he leaned down to turn off the Socrates, he noticed a small picture laying on top of the small mountain of Cosi receipts. He picked it up.

It was a portrait of jonCates, with a moustache and goatee drawn over his own moustache and beard. On it was scrawled, “L.H.O.O.Q”.

“'He Has a Hot Ass’!” jonCates exclaimed, his heart brimming with emotion. “He DID care!”

He looked down at the picture again.

“I am TOTES posting this on tumblr.


the end!

vimeo

“We (jonCates, Jake Elliott + Tamas Kamenczy) presented a talk AKA a performative artware lecture performance on our custom cyberpsychedelic "Artware Development Environment Artware Environment”!

Or as Jason Scott wwwrote: “Three members of the criticalartware crew will demonstrate and explain the technical, aesthetic, psychedelic and social functionality of the Artware Development Environment Artware Environment, the tool they used to develop award-winning artware such as HyperYarn, CHASSIS, and HULL (which won first place in the ‘Artware’ category at blockparty 2008). The Artware Development Environment Artware Environment will be made available on CD-ROM and online after the demonstration.

Jason Scott invites you to check out the appearance of CriticalArtware (and Jason as well) at the 2008 HOPE Conference in New York City.

Bio Jake, Jon & Tamas live in Chicago (birthplace of dirty new media) and work as cyberpsychedelic artware engineers in a variety of industries.”

On June 2 1980 Jay W. Forrester presented a talk at The Computer Museum in Boston. In this presentation he details the development of the Whirlwind computer over the years of 1946 to 1953. Throughout his presentation Forrester refers to the effort to create Whirlwind using the plural personal pronoun of “we” to refer to those who were involved in the process. Developments, such as Whirlwind in specific or the efforts and outcomes of the Military-Industrial-Academic-Entertainment Complex in general, arise from complexes. These complex networks are dynamic arrangements of simultaneously competitive and mutually interdependent interests. As Forrester himself says: “A project of this sort grows out of a background, a background that is very important if it is to take shape and to succeed.” - jonCates (2015) #CALCULATIONS

glitChicago

I’ll be back in Chicago in September to take part in glitChicago at the Ukrainian Institute Of Modern Art.

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…

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I will have a selection of work from my discography broadcasting live at the exhibition ģ̶Ł̶1̶ɫ̶C̶ʮ̶_Δ┌┼ at Neutral Ground Contemporary Art Forum curated by jonCates. The audio art programming will be streamed online via NUMBERS.FM, and the visual work available on GL1tch.4RT’s Facebook and Tumblr pages.

Neutral Ground Contemporary Art Forum is an art gallery based in Saskatchewan, Canada that creates, presents, and curates original visual and media art projects and facilitates developmental opportunities for artists.

Participating artists include: Absolute Value of Noise, Alan Sondheim, Antonio Roberts, ASCETICHARLOT, Attraktor Zeros, Benjamin Gaulon, Carrie Gates & Jon Vaughn, David Gerhard, Erik Rzepka, Glitchr, Holly Lay, Ian Campbell, Jeff Kolar, jonCates, Kim Asendorf, Nelson Diaz, Rebecca Caines, Rozita Fogelman, Ryan Hill, Shawne Holloway, stAllio!, Systaime Alias Michaël Borras, YUNG PHARAØH, ƴPH∆R∆ØHɧ▲▲△⌡!îxXx. (YUNG PH∆R∆ØH, Ei Jane Janet LinjonCates).

When:

September 12 - 14, 2013

Where:

Neutral Ground Contemporary Art Forum
1856 Scarth Streeet #203
Regina, Saskatchewan, Canada

Options Jon Cates 4 hours ago via HootSuite · 
  • “…basic ways to represent "cyberspace” and virtual reality. You can have basic reality, with the occasional glitches or incongruities.“
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