Mar 3, 2015



Feb 22, 2015

the impossibility of returning to initial conditions

Given to Ray Evanoff and Lauren Capone.

“Science is the study of those phenomena so crude that a return to initial conditions will cause the phenomenon to repeat itself. Nothing else in our own lives does this. It has cut itself off absolutely from the domain of our own lives.” * (Terence McKenna from the lecture “Where Does Reality Begin and End“)

I haven’t made one of these drawings for a while, but thought I would revisit this–this action/process where I am allowed to just sit and draw…

I’ve been thinking some lately about people that create work so similar throughout their lives that it could be said they’ve just been working on the same work–without growth, and thus without creativity, or worse, curiosity. That they diverge from being an artist and then become their own marketing agents, concerned with image management and the perpetuation of their brand. Their art becomes this too. It’s like some sort of entropy. How terrible to live without curiosity…


now I’ve made this drawing.

It is similar to others I have made. But, I am acutely aware that some things can’t be reset, and that really a return to initial conditions is impossible. So maybe this drawing can just be a control, or a counter-point to my life the last time I made one of these last year (……..Can I get away with that?) Or maybe I’m working something out and just needed to set myself to work on a casual something, and this is my low gear.

*I love science (!) and I’m sure those who are truly inquisitive about the nature of reality will crack that egg too, so it can tackle more than just crude material processes (Alfred North Whitehead has something to contribute here in his book Process and Reality).  Also, perhaps it’s worth looking at the dependency science has on reproducible results, causality, time in general. Looking at this whole time travelling slug thing might help!

Feb 10, 2015

fighters drawn pretty well with a mouse

I’ve been drawing some of my favorite MMA fighters with a mouse…

Mark “Super Simoan” Hunt

Mauricio “Shogun” Rua



Dan Henderson

Sad Henderson

Nick Diaz


Feb 8, 2015

Filming for Rodrigo Constanzo

I live with a very talented and prolific composer/musician, Rodrigo Constanzo. Here are some videos I’ve made with him. I’ll update this post as and when a new video is made, but only the FOUR most recent will appear. Please click the ‘continue reading‘ link below to see the complete post.

February 7, 2015 – Everything. Everything at Once. Once. (3).
This video is one of a set of 4 videos total, for the third iteration in the Everything. Everything at Once. Once. series. That’s too many numbers and references to numbers to make sense, isn’t it? I mean this…
Everything. Everything at once. Once. (has 3 videos)
Everything. Everything at once. Once. (2) (has 4 videos)
Everything. Everything at once. Once. (3) (has 4 videos, which includes the one shown below). My role in this vid differs from others since the camera is static. Have a look at the thoughtful and thorough blog post Rod made about our process and thinking behind this work.

October 28, 2014 – The full length version of
And here’s Rod’s blog post about it.

July 20, 2014 – This is the second video that features the Grassi Box. Here I’m using my new slider. For more info on what is happening, visit Rod’s blog post about it.

April 28, 2014 – with the Grassi Box he had designed and built by Dan Wilson (of Cicuitfied). I make the most ridiculous and unintentional cameo in this!

Continue reading »

Feb 3, 2015


For David Pocknee, sometime after we watched Synecdoche together.


David, 2015
Acrylic on teensy-weensy canvas
From the series “Composers
Gift of the Artist

Jan 25, 2015

filming the Distractfold Ensemble

SWITCHES by Sam Pluta as played by Linda Jankowska and Rodrigo Constanzo on January 25, 2015

A Series of Postures. I made this video for my pal Ray Evanoff. Its about a piece of his which was performed by Kate Ledger.

I shot this and it was great. I had the best seat in the house!
The complete improvised set from Lê Quan Ninh, Rodrigo Constanzo, and Sam Andreae.

Also did, this short interview of Lê Quan Ninh:

Here I document Distractfold’s second concert held on February 16, 2012 at the International Anthony Burgess Foundation, here in Manchester.

I was asked by Mauricio Pauly to create a short movie which documents Distractfold Ensemble‘s first concert. Manchester. Summer 2011.

Jan 10, 2015

Its Fleece Electrostatic

^^Make sure HD is on, and if possible full-screen. It makes a difference.^^


Mauricio Pauly asked me if I’d be interested in making videos that would function as releases for two of his works. This first piece,  Its Fleece Electrostatic, is for violin, and it’s Linda Jankowska’s performance(s) edited together in this video.

Here it is on vimeo too (where you can leave comments and likes if you’d like).


This is the first video where I really dig into datamoshing. I had been drawn to it for some time, but felt like it was this very mysterious thing just out of reach, just outside the realm of my understanding and technical ability. Some years prior I had found a tutorial on youtube (How To Datamosh by datamosherand while the process shown is effective and educational, I also found it prohibitively tedious. Oh my god(!) how I could not handle having to set in and out points to manually delete every “I” frame in a length of video using the un-sexiest programs, and then having to convert files back and forth just to see what I had made. There are I frames and there are P frames. I frames are a keyframe or an image whose pixels are referrenced. P frames are frames where the data just refers to the motion of the pixels in the I frames. There are B frames too–whatever those are. Datamosher’s youtube videos do a good job of showing you this stuff.  So I dropped it and went on to something else. That something else was working on these specific kinds of process drawings. Here’s an example (there are other posts about them).

pattern Above: a strong sense of the pattern (all the colors of sex)

Over the time that I was making these drawings I also saw two videos which inspired me greatly. They are:  Welcome To Heartbreak by Kanye West (for it’s use of datamoshing) and Body & Blood by Clipping (for it’s use of greenscreen). Damn it! If I had to do some tedious shit to datamosh, so be it. Welcome To Heartbreak is just too cool. So I braced myself for a massive undertaking.

The time spent making these drawings acclimated me to a certain attitude about process, that I think can be misinterpretted, but best understood, as patience.

So I revisited the idea of datamoshing and after having done some research I came across another way to datamosh using a program called GoldmoshLive. It is basically a Max patch that you feed a length of video into and it fucks it up in some way. The program gives you some options, but they don’t work as described, and what they do do really isn’t that great anyway. Datamoshing means things aren’t working right anyway though, so this is really no matter. Something goes in…something, something…something fucked up comes out. Ding! However, the things you feed into it greatly impact what comes out and the correlations are largely unpredictable. All I’ll say is every adjustment of parameter altered the outcome greatly: opacity, color choices, layers, re-timing of clips, treatment of each layer, keying, filters, clip length etc. But this was a good thing! It encouraged experimentation. And through this experimentation I learned.

So from this point the central mechanisms for building fleece were the processes of experimentation and selection.

Early into the process however, I discovered Final Cut Pro X couldn’t handle playing a timeline with too many of these Goldmoshed (ie corrupted) clips. One night, while I was knee deep (and I mean baaaalllls deep) and had really found a good groove with it all, I imported the clip that broke the camel’s back and crashed Final Cut. When I was finally able to reopen Final Cut–cuz it had crashed my computer hard–it decided it wasn’t going to recognize the project file at all anymore. EVERYTHING up to that point, GONE. All my greenscreen footage of Linda, seemingly gone (It is not a good feeling thinking you wasted another person’s time and effort). Everything I had constructed across several timelines, gone. This was a good month of work up to this point. Final Cut took its ball and went home. My technical advisor, Rodrigo Constanzo, was away at the time, so that night we performed triage over a long distance phone call.

In the end, I lost everything I had built, but salvaged the initial footage I had shot of Linda in front of the green screen. I didn’t return to the project for a few months because I had to start again…well, not quite from zero…I had learned some things through all the experimentation I had done.

When I started up again, I worked only seconds of footage at a time (really to minimize the risk of another bad crash), in what I perceived to be the moments that make up the whole of the piece. On average building 10 seconds of footage took me 3-4 days. Nothing in the video is automated…or automatically mapped.  The decisions are mine. What I mean is, I did not give some program the specification that every time you hear a F# for instance, that the screen goes blue (that never happens anyway, but you get the idea).

While I tried to give each moment in the piece unique consideration, I’ll try to give a very general over-view. These considerations are not sequential and would be repeated throughout

+ Figure out which clips to include and which work well together as layers. Linda and I filmed for the good part of a day so I had a fair share of takes, both of individual sections and some full run-throughs.

+ Think about MOTION and COLOR

+ Consider re-timing sections (slow-motion, speed ramping, f-fwd). Was it appropriate or not? What kind of things to do?

+ Make decisions about color. Really, broad strokes stuff. I’d add layers that would normally not be seen, but datamoshing fucks things up in unexpected ways so I’d add opaque layers on top of opaque layers and experiment with the treatment of each layer just to see what would happen.I can think of this stuff in terms of painting, and I’m just blocking things in. A big brush. A wash.

+ Datamosh the shit out of that stuff. In my case using Ruby scripts or Goldmosh. Changing things so different things happen (as previously mentioned) and then choosing the things I’d feed back into the timeline to then re-export and continue this experimentation with, until the section was what I needed. Each time something got moshed and reimported it felt like I was  flattening things down. I don’t mean as in making them less complex. I mean as in cooking them. Rodrigo mentioned that a good parallel might be how Aphex Twin constructs his music. I fucking love Aphex Twin. Also it’s important to note that the first time you import a freshly Goldmoshed clip back into Final Cut it is corrupted as fuck. Sometimes this looked quite cool–but is unpredictable, as I think Final Cut plays/processes that section of video anew each time it drags the playhead across that clip in the timeline. Sometimes that’s [very] good. Sometimes I wanted to lock something down and so I had to import the freshly Goldmoshed clip, export it from Final Cut, then re-import the clip, deleting the first iteration of it. This made that clip more stable. Here are a few screen shots of my timelines (even with sections already flattened–cooked–you can see the beautiful layer-braid-sausage-stacks): 007


E01 As I continued making the video for fleece, I continued researching. I came across a way to do the initial moshing I had found so tedious years earlier, using a Ruby script. Up until now, I hadn’t gotten around to that technique because Goldmosh was varied enough to keep things interesting.

But then I found AviGlitch – “A Ruby library to destroy your AVI files”.  

Perfect! What took me minutes to do before by deleting I frames manually (and god forbid I accidentally delete the first I frame, which would crash Avidemux and I’d have to start all over!), I could do with this script in seconds. I still had to convert my file into an avi file using ffmpegX, and convert the avi file back to an mp4 using Handbrake, but that tedious process that datamosher teaches us about in his youtube video is now automated. The results of doing it manually and tediously are EXACTLY the same as running this script. There are no creative decisions to be made. This is the kind of automation that grants a person freedom. It is what is good about technology.  Here is the code for that kind of I frame deletion moshing, which I simply called “mosher”:


require 'aviglitch'

avi = '/Users/Rodrigo/Desktop/tomosh.avi'
avi.glitch(:keyframe) do |data|
data.gsub(/\d/, '0')
avi.output '/Users/Rodrigo/Desktop/moshed.avi'

Ok, so here’s how to use Aviglitch: Install Aviglitch: Export a clip from Final Cut. The higher the resolution the better, but make sure you don’t export it at a resolution greater than what it was originally filmed because ffmpegX doesn’t like that and it will refuse to convert the clip (or something like that. Rather, if ffmpeg isn’t converting try exporting at different resolutions until it sticks. This is the problem 9 out of 10 times). Convert it to an avi file using ffmpegX. To do that make sure you have these settings: + video codec: “XviD[.AVI] (ffmpeg)” + audio: un-tick “encode audio” + select options: “High Quality”, “Two-pass encoding”, and “Decode with QT” (but UN-tick “Letterbox”) Then change the name of that avi file to “tomosh”. Then open terminal on your computer and copy this in, making sure your file path is correct…This was mine for example:

cd /Users/Rodrigo/Dropbox/Angie/5\ DATAMOSH/RUBY

In terminal, type the name of the Ruby script you want to run. There’s the one I already typed up above, “./mosher.rb”. Then there are these bloom-ing scripts I used. You can play around and modify the code to change what it does (and since completing this video and showing it to Alex Harker, he’s interested in talking to me in order to make some of my script dreams come true. Basically he is a wizard and I get to tell him my ideas!) So this one of my blooming scripts “./bloomer.rb”. This one basically jumps around and blooms a frame referencing just another random point in the same clip. It does this to several frames so it’ll give you a variety of stuff you can then select the good stuff from. So you run, discern, select, reimport. This was my process and I loved how exciting it was because of the different things it’d spit out. You can spend sooooo much time here and it is time well spent:


require 'aviglitch'

a = '/Users/Rodrigo/Desktop/tomosh.avi'
d = []
a.frames.each_with_index do |f, i|
d.push(i) if f.is_deltaframe? # Collecting non-keyframes indices.
q = a.frames[0, 5] # Keep first key frame.
15.times do # AMOUNT OF TIMES TO RUN
x = a.frames[d[rand(d.size)], 1] # Select a certain non-keyframe.
q.concat(x * rand(120)) # HOW MANY FRAMES TO BLOOM
o = q # New AviGlitch instance using the frames.
o.output '/Users/Rodrigo/Desktop/bloomed.avi'

And this is another “.bloomerx1.rb”. This one just blooms the 5th frame of a clip, with the motion of the frames that follow it. Note: The clip used has to be at least 13 frames long. The eight frames that follow the 5th can be from a different sequence, not necessarily the continuation of that same clip. So it’s cool to look at sequences/frames and consider them in terms of the motion they’ll impose on an image/pixels of the 5th frame:


require 'aviglitch'
a = '/Users/Rodrigo/Desktop/tomosh.avi'
d = []
a.frames.each_with_index do |f, i|
  d.push(i) if f.is_deltaframe?     
q = a.frames[0, 5]                  
1.times do			    
  x = a.frames[d[10], 1]  
  q.concat(x * (200))            # HOW MANY FRAMES TO BLOOM
o = q                # New AviGlitch instance using the frames.
o.output '/Users/Rodrigo/Desktop/bloomed.avi'

After you run these things a bunch and they make some building blocks you think you can work with, you convert these avi files back to mp4 files using Handbrake. I found Handbrake sometimes fucked up the aspect ratio during conversion. This is how you fix that….(again, knowledge gained through experimentation and discovery) + In toggle presents make sure you have ‘High Profile’ selected + Then go to “Picture Settings” + Set anamorphic to “None” + Un-select “Keep Aspect Ratio” + Select Cropping to “Custom” + Change all those parameters to zero (one of these will be some other number–this is the problem!) + Then manually enter the width and height to match the dimensions of the original video. handbrake   So that’s how you make the building blocks–just the technical specifics. I’m going to continue to experiment with datamoshing and learn about as many different types of processes as I can.

What follows is less technical,


Of course all throughout aesthetic decisions are made. The thinking that took place on this video as I made it–and the thinking that takes place as I watch it–is thick muck. Something  different from rational thought, as I engaged in the event of it’s creation, and the anticipation I feel even as I watch it in fixed form. Logos. Bios. Technos. Novelty articulated via the modalities thereof. Yes, I believe in serendipity, as well as something like animism which extends itself to media. Mind in media. Life as media.


Riding the momentum of a distant memory, a thing was created…

Dec 11, 2014

Apes Grapes – Blow Up, Zoom In!

I shot this video for Apes Grapes during their recording session.