Difference between revisions of "Martin Howse"
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Artist, programmer, theorist and film-maker. Founded [[ap]] in 1998 to produce and explore the construction of a free, artistic operating system in its widest sense. [[xxxxx]] founded in collaboration with [[Jonathan Kemp]] in 2006 as research institute ([[Berlin]]) and ongoing manifestation (open hardware explorations). Member of [[Take2030]]. | Artist, programmer, theorist and film-maker. Founded [[ap]] in 1998 to produce and explore the construction of a free, artistic operating system in its widest sense. [[xxxxx]] founded in collaboration with [[Jonathan Kemp]] in 2006 as research institute ([[Berlin]]) and ongoing manifestation (open hardware explorations). Member of [[Take2030]]. | ||
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| + | Operates within the fields of discourse, speculative hardware (environmental data in open physical systems), code (an examination of layers of abstraction), free software and the situational (performances and interventions). Heavily improvised, playing with the collapse of massed, barely functional salvaged equipment and software systems made manifest in sound/noise and image, Howse presents a complex, process-driven constructivist performance; the symphonic rise of the attempt to piece together fugal systematics is played out against the noise of collapse and machine crash at the deserted border of control. | ||
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| + | http://1010.co.uk/ | ||
Revision as of 18:03, 1 July 2008
Artist, programmer, theorist and film-maker. Founded ap in 1998 to produce and explore the construction of a free, artistic operating system in its widest sense. xxxxx founded in collaboration with Jonathan Kemp in 2006 as research institute (Berlin) and ongoing manifestation (open hardware explorations). Member of Take2030.
Operates within the fields of discourse, speculative hardware (environmental data in open physical systems), code (an examination of layers of abstraction), free software and the situational (performances and interventions). Heavily improvised, playing with the collapse of massed, barely functional salvaged equipment and software systems made manifest in sound/noise and image, Howse presents a complex, process-driven constructivist performance; the symphonic rise of the attempt to piece together fugal systematics is played out against the noise of collapse and machine crash at the deserted border of control.
