Manipulating Automated Manipulated Automation (2020-, Performance)

The keyboard, mouse, and desktop screen are there for the communication of information between machines and humans. Humans usually work with computers by manipulating them in real time, but here I stand by and do nothing, and the pre-manipulated movements of the mouse and keyboard perform automatically. The peculiarity of software is that when a human manipulates a single parameter, a series of connected, automated movements respond to it. These processes are also linked and connected to each other, forming a huge software like an operation system. My brain is not smart enough to grasp each and every detail of the process, but that is a minor detail not worth lamenting. What I need to do is to intervene. Intervention here is the game of operating someone else's pre-defined and automated operation for a different purpose. My lazy body is immobile. However, my eyes and ears are constantly observing the smooth movement of the cursor, which has no specific purpose, as well as the images and sounds it generates by arranging desktop folders, expanding and contracting windows, shutting down, and so on.

キーボードやマウス、デスクトップ画面などは、機械と人間が情報をやりとりするためにある。人間は普段、それらをリアルタイムに操作してコンピュータを扱うが、ここでは私は何もせず立ちつくし、予め操作されたマウスやキーボードの動きが自動的にパフォーマンスする。 ソフトウェアの特異さとは、人間が一つのパラメータを操作すると、その先に接続された、いくつかの自動化された動きが連なって反応することだ。そのプロセスの数々がまた連なり、接続しあって、オペレーションシステムのような巨大なソフトウェアを形作っている。私の脳は、その細かなプロセス一つひとつを把握できるほど優れていないが、それは嘆くに値しない些細なことである。私がするべきことは介入のほうにあるからだ。ここでいう介入とは、誰かが予め規定し、自動化した操作を、それとは別の目的のために操作する遊びである。 怠惰な私の身体は動かない。しかし私の目や耳は、具体的な目的を持たないカーソルのなめらかな動きと、それが生成するデスクトップフォルダの整頓やウィンドウの拡大縮小、シャットダウンなどによる映像や音を、絶え間なく観察している。

Soft: Python (importing Pyautogui), Apple Script, SuperCollider, MacOS / Hard: Macbook Air 2019 Intel Corei5 1.6GHz Dual-Core, Babyface Pro

I am publishing all the names exist in the whole world. (2019, Mixed Media)
The YouTube Slave (2020, Mixed Media)
Computer Music Party (2019-, Live Event)
groove 12 (2020, Digital/Analog Cassette, Label: outlines)

The last part of a grooves series dedicated to representatives of the Algorave movement features a debut sound artist from Japan – okachiho.

groove 12.1 begins with finely cropped and ripped samples, whose apparent randomness begins to form an ever-accelerating mechanism. Some of the producer's sound palette resembles the Tilman Ehrhorn’s recordings from the "Task" album released by Mille Plateaux. okachiho tastefully oscillates between the dynamics of individual elements of the composition and deliberately introduced silence. A perfect example of this is groove 12.2, starting with a compressed and nervous pulse that gradually breaks down into atomized components shattered by intervals – a mixture of punk energy with post-Cage strategies.

Algorave grooves 10th and 11th by Kindohm and Renick Bell tried to redefine such music genres as footwork, jungle, and drum & bass. okachiho took a different path in groove 12 by sticking to the tempo of 160 bpm and coding her own sound world.

The graphic design of the Algorave series by Iwona Jarosz evokes the works of the 20th-century Wrocław visual artist Wacław Szpakowski. His "rhythmic lines" and "broken lines", their dynamics, rhythmization, interpenetration of simplicity and complexity can be an extremely interesting reference point for the practices of the (visual and sound) creators of Algorave. (text by label)

Artwork: Iwona Jarosz / Yes in Progress