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Permission Taken opening

Permission Taken launched at Birmingham Open Media on 23rd October and it couldn’t have been better!

Permission Taken opening

You may have noticed my internet presence has been somewhat quiet over the last few months. This can all be attributed to the many hours it took to prepare for this, my first solo exhibition. Prior to this I had done many performances, contributed videos, gifs and still images to group shows, and curated shows featuring the work of other artists. Being given the large gallery space of BOM was therefore quite a challenge and a new experience.

Permission Taken opening

In developing work for this exhibition I wanted to present work that best represented the direction my work is taking. Aesthetically this will still include lots of screens and projections, and will still incorporate the (mis)use of technology and glitch art. However, there will be more of a focus on the free culture and the open source movement.

Archive Remix

These issues have always been present within my work, just not at the forefront. For example, it’s no secret that I only use open source software and have done since around 2008. I also release my work under Creative Commons licences in the hope that people will reuse my work somehow. Through this exhibition I aim to encourage others to do the same in their own practices.

Permission Taken opening

I know that this can be a difficult message to convey through visual artwork alone. There will be a few upcoming events that will invite the public to further look into these issues, explore new approaches to ownership and authorship, and learn about how creativity is restricted by outdated laws and practices. Information about those will be published very soon, but in the meantime keep an eye on my events page and the BOM website.

Dead Copyright

Thanks

This exhibition wouldn’t have been possible without the help of loads of people. In particular I want to thank:

  • Karen Newman - After being a curator at FACT and Open Eye Gallery she came to Birmingham to open up BOM and support artists interested in art, science, and technology. She immediately offered me a slot in the BOM programme for my solo show and has been extremely patient and supportive over the last year.
  • Clare Mullett/Research and Cultural Collections - This exhibition is happening as part of my residency at the University of Birmingham. I was really honoured to be accepted onto the residency programme, especially considering the technical aspect of my proposal. The exhibition will culminate with a showcase of this and other work in 2016 at the University of Birmingham. More information on that in time.
  • Arts Council England - Their support shows to me that there is a place for science, technology and digital art within the wider art community.
  • Pete Ashton, Lucy Hutchinson, Sebastian Lenton, Marianne Mulvey, Kerry Grace Leslie, Leon Trimble and Matthew James Moore. Each helped me in their own special way, be it helping with the Arts Council application form, installing the show, building the Copy Bombs or just being generally supportive.

Permission Taken opening

And last, but by no means least, I’d like to thank everyone that came out on the opening night and has been to the exhibition since. I was really touched by all of the support from my family, friends and the art community.

The exhibition continues at Birmingham Open Media until 23rd January. It then will happen again in March 2016 but more on that later ;-)


Permission Taken

I’m happy to announce the launch of my first solo exhibition, Permission Taken, taking place at Birmingham Open Media from 23rd October 2015 to 23rd January 2016.

Dead Copyright

The exhibition features a number of digital, video, print and installation pieces developed as part of my residency at the University of Birmingham’s Research and Cultural Collections and Fellowship at Birmingham Open Media. The pieces explore ideas of ownership, copyright and free culture - issues which are pertinent as online communities become more prolific and harder to police.

Archive Remix

Over the course of the exhibition a number of events will be held that invite artists and the public to rethink ideas surrounding ownership and authorship in the digital age.

Dead Copyright

Permission Taken is supported through public funding by Arts Council England and with funding from University of Birmingham.

funding_logos


Uncanny Valley

From 7-10th September I was invited to take part in the Uncanny Valley event in Burbage Valley, Derbyshire. It’s a lovely place! The event was described as:

A two day hack in the rugged Burbage Valley in the Peak District, hacking in nature, exploring the role of sensors and data in responding to the environment. In collaboration with Lovebytes.

Responding to the environment was probably the biggest hack of the event! Aside om the midges, the gargantuan hills, the cold and the lack of wifi, the biggest challenge that faced us was the lack of electricity. Jon Harisson of Lovebytes was smart enough to bring a battery pack, but with a running time of two hours this placed restraints of what was achievable.

Uncanny Valley

I can’t speak for the other participants but I felt this restriction affected me greatly. As a mostly visual and projection artist my usual setup consists of a laptop and a projector. Software for manipulating visuals (Pure Data, Processing etc) usually consumes more power than running audio software. In addition to this the biggest power drain of them all was the projector. Really inexpensive projectors and battery powered projectors exist but these would never have enough lumens to fill a space as big as the Burbage Valley. Rather than accept defeat I worked to respond to the environment. My situation - 2 hour battery, small projector, working in daylight daylight - meant I could only get any noticeable effects if I scaled down. And scale down is what I did!

Uncanny Valley

Uncanny Valley

Uncanny Valley

Uncanny Valley

The above pictures were made by simply pointing the Glass video piece onto small rocks and twigs. This was all during daylight, so I was quite surprised by how vibrant the colours were. Jon Harrison quite handily shot a video (edited by me)

Additional shaky footage and more photos are available in my Flickr stream.

This kind of experimentation piqued my interest. I could go down the route of projection mapping but I’ll resist for now. I’m less interested in mapping flat video footage to uneven surfaces and more interested in seeing how uneven surfaces affects both the surface and the video.

Look out for more work in this style in the future.

Edit 11.03.16

Edgar Gómez Cruz uploaded a nice video of our time in the valley


Black Hole Club at Vivid Projects

Things on this blog have been rather quiet in recent months. I’ve stopped updating it with absolutely every event or exhibition that I’m somehow involved in - there’s now a dedicated Events page for that. I’ve also been very engaged with delivering workshops (gotta entertain the young ‘uns somehow this Summer!), such as the How To Gif workshops for Future Curious and a number of Pure Data and Glitch Art workshops.

Another thing occupying my time and filling it with joy is my work for Vivid Projects and Black Hole Club. On 7th August Black Hole Club returned to Vivid Projects to exhibit recent work as part of Digbeth First Friday.

I Am A Strange Loop

Kate Spence - She Came In Waves

Unweidly Film Monster

I Am A Strange Loop

I Am A Strange Loop

The exhibition, titled I Am A Strange Loop, explored the ideas of loops and recursion, inspired by the book I Am A Strange Loop by Douglas Hofstadte. Artists that exhibited were Kate Spence, Rebecca Mahay, Leon Trimble, Sarah Walden and Ollie MacDonald-Brown, and Michael Lightborne. Even though the exhibition was only for one night all of the contributing members really put a lot of hard work into their pieces.

It’s been a very big learning experience working with the Black Hole Club members to put on events and generally help develop their individual practices. Some of the members are already experience and established artists and see the scheme as another outlet for their creativity, whilst some are still trying to solidify their practice and establish themselves within the local community. Whatever their level it’s been great seeing the collaborate and work together to put on a great exhibition!


Open Source Giffing

On 13th August I delivered a How to Gif workshop at the mac (Midlands At Centre) as part of Future Curious. Prior to this I went a little bit of a Twitter rant about the lack of software dedicated to making animated gifs, espeically within the open source software world.

Gifs are difficult

In this recent rant I talked about some of my fears regarding the delivery of this workshop. Although gifs are everywhere and we consume them every day, they can be quite difficult to make. What I think is sometimes overlooked is that gifs are basically just like any other animation, but saved as a gif.

gthsb_surge_1

Sure, this sentence does overlook the technical limitations of gifs - 256 colours and limited alpha settings - and the cultural significance of the file format, but it’s no surprise - or maybe it is a surprise - to learn that lots of popular gifs that aren’t grabbed from movies will have been made using 3D modelling software (Maya, 3DS Max), compositing software (After Effects), animation software (Toon Boom, Anime Studio) or even video editing software (Adobe Premier, Final Cut). These software can take many months to grasp the basics of and many years to master.

So, a basic gif making workshop really would be basic unless everyone participating already had knowledge of common animation techniques and use of software.

Software sucks

Speaking of software and tools, the biggest concern I had about this workshop was what tools to use. The aforementioned software are probably the defacto tools of many popular gif artists. The main problem I see with these software is not their complexity - this gets easier over time - but how difficult it is to access them. To put another way, these software cost money. A lot of money.

The computers in the mac computer studio had some of this software already installed but would the personal computers of the participants? What’s the point in teaching someone how to use Photoshop or Maya when they would have to commit to paying $10 per month or $800 respectively to be able to implement what they were taught?

There needs to be free software for making gifs that are accessible to many. Fortunately these do exist, but each has its own flaws.

What I want

What I wanted to teach in this workshop, and indeed what I generally want when making gifs is to be able to mix several sources into one gif. This can be mixing together two existing gifs, adding text or subtitles, putting a gif against a background or something very similar. When put into a list my preferred gif editor should be able to:

  • open gifs
  • allow me to change the canvas size
  • treat the gif animation as one whole object but still allow me to edit each frame
  • import multiple gifs and maintain editability of each
  • allow me to translate, scale, rotate and generally modify each gif
  • change the speed of each gif
  • have an option to make the duration of one gif match another

These requirements are potentially very unreasonable. I would not suggest at all that these would be easy to implement. When looking at existing photo editing and video editing software one might think that this would almost be standard. However, as I mentioned before, animation isn’t easy and so building software to do it won’t be easy either.

With those requirements in mind, how do existing open source software measure-up?

Blender

blender-ui Without a doubt the most popular and most used open source 3D modelling and animation program. Aside from having a learning curve resembling a hockey stick, one hurdle in creating and editing animated gifs in Blender is that it doesn’t support animated gifs.

If one wants to load in a gif they would have to render each frame to a separate file and then import that image sequence onto an object/flat plane in Blender. Although this would seem like a simple solution one thing that does get lost is the frame rate information. Y’see, in animated gifs each frame can have a different duration. When importing an image sequence into Blender you just get one frame rate. This may not be such an issue as it’s rare for me to see such gifs, but, like many things, it would be nice to just support animated gifs natively.

With that aside, Blender can achieve many of the other tasks on the list and so much more.

It’s quite funny, and a bit unfortunate, that almost any “media” problem in open source software - video editing, post processing, and now event 2D animation - can tackled using Blender.

Synfig

synfig-ui Perhaps the only competent open source 2D animation software. It too has a learning curve akin to a hockey stick but doesn’t have multiple interfaces or that pesky third dimension to worry about.

Like Blender, Synfig doesn’t have native support for animated gifs and requires a user to convert their gif to individual frames. This same approach is needed if a user wants to import a video.

Unlike Blender you can’t change the speed of imported image sequences/gifs. I’ve reported a bug about this. Of course, in the case of gifs native support would be better, but that solution could also work.

Synfig can do almost all of what is on the list, as can Blender. But, unlike Blender, Synfig can be a huge pain to use. I’m a big fan of precise measurements (thank you based Inkscape) and so not being able to change the coordinates system, having no alignment tool and other small details makes Synfig a bit annoying to use. Then there’s the crashes…

With that said, unless you want to tackle the behemoth that is Blender then for 2D this is the best solution.

GIMP

gimp-ui There’s no doubt that if you ask anyone on the internet if GIMP can make animated gifs they will give you resounding “YES”. What they fail to mention is that, in most cases, you need to have made the animation beforehand. What you’ll achieve in GIMP is basically compiling individual frames into a gif.

Unlike it’s proprietary brother-from-another-mother Photoshop, GIMP has no native interface for making animations. (I won’t even entertain GIMP GAP as an option until it can be easily installed on all platforms and doesn’t suck.) This means that if you want to, for example, add text to a layer you have to manually do it for each frame. There are some plugins to help you do this but the thing to take away from this is that it’s a destructive process, meaning that once the text, image or paint mark is placed on a layer it can’t be moved or manipulated.

There’s also the lack of support for things like keyframes and tweening. However, I won’t call this a fault of GIMP as it is image editing software, not animation software.

Imagemagick

In a similar vein to GIMP, it’s easy to make animations in Imagemagick, just as long as you’ve done of the animating work already. It takes nothing more than running convert input_images-*.png output_gif.gif to make an animated gif. However, this assumes that you already have the animation ready.

As it is command-line software, editing animations becomes a combination of guess-work and knowing precise details of your files. If you want to do batch processing and create algorithmic animations, as I have done with things like the JPG Glitch Pattern Generator - then Imagemagick is great. For a GUI animation editor look elsewhere.

Web tools

There are a plethora of tools on the web for creating animated gifs. The majority of these either let you convert a series of pictures into a gif (yawn) or convert a section of a video into a gif. Two tools, Piskel and GIFPaint allow you to do frame-by-frame animation, which can be handy for those who want to animate on the go, but not so handy for those of us who can’t - or won’t - draw.

None, however, let me import multiple gifs and merge them into one. One near-exception is ANIMATED GIF MASHUP by Evan Roth. If the gifs you wish to use are already online you can paste the urls, specify an x/y position and have yourself a gif party! This was use by Roth in a workshop where participants made this awesome video:

One downside to this tool is its lack of export functionality. In order to save this as a gif, or indeed a video, a user has to rely on screen capture software. This software is easily found on all platforms, but by doing this there is no way to find a common loop point for all of the gifs and so users may find their animations don’t seamlessly loop.

Gif them a break

With all of this written I am actually a happy user of these software. With regards to the workshop, I had no doubt that participants would have had no trouble converting a gif or video into individual frames or pasting urls. It’s not like we’re in 1993 anymore, people know how to use computers. By critiquing these software I want to address what I feel are barriers to entry, the biggest barrier being actual native gif support.