Holons & Holarchy

Conceptually rooted in Arthur Koestler’s book Ghost in the Machine, Holons & Holarchy is an expanded body of work that contains prints, interactive web-art, digital objects, and video work. Together, they all reference the concept of Holon, where holos means the whole, and -on refers to the particle or the part. This single concept flattens the duality of whole-part and is an ontological tool to understand the complexity of systems around us. Koestler uses the ancient Roman figure Janus – the guardian of doorways and a symbol of time as a metaphor to explain the duality of a Holon. This body of work pulls these references from Ghost in the Machine and reinterprets them through the lens of creative computation to create artifacts, which refer to systems, time, and the universe.

Amay Kataria is a new-media artist whose practice reflects upon the speed of communication and how it has transformed our post-modern society. It intends to destabilize this pace by putting forth situations for “contemplative understanding.” By using time as material and repurposing processes, his practice advocates that the mechanization of social experience directly affects the inter-relational space between humans. He holds an MFA from the School of the Art Institute of Chicago and was previously a new-media resident at Art Center Nabi and Mana Contemporary. He has exhibited at Vector Festival, Hyde Park Art Center, Ars Electronica, Electromuseum, amongst others.

National report of Amazonian communities

This report uses sound and light as a possibility to represent and randomly compare the number of inhabitants of some communities in the Peruvian Amazon.

This project uses a Pd patch that made tones from the number of inhabitans of some communities in the Peruvian Amazon, and this tones made ligth with Hydra.


Is an, about sound and audiovisual project, from Marco Valdivia, who believes in technology and ownership as tool for developing people, individually and especially common and collective, and focuses on sound and audiovisual practice. About this, has made workshops, concerts and talks at festivals, meetings, cycles and other specialized spaces in Peru, Germany, Bolivia, Colombia, Chile, Ecuador, Mexico, Norway and Sweden.
Research, develop and propose sound art, multimedia and audiovisual, focused on issues of knowledge, information and technology access as possibilities for cultural development of free societies.



What was written about the “fertile source of moving power” bulges and disintegrates. The words of the so-called father of the computer form an endless exhaust; algorithmically generated on a computer screen.
Real-time generative concrete poetry with one page of Charles Babbage’s On the Economy of Machinery and Manufactures as input. Made with p5.js.

Jasmin Meerhoff writes essays and prose, produces computer-generated poetry and computer music (as nervousdata)—with a particular interest in the means of production of technology and its conditions of use. Her artistic practice involves analog and digital cut-up techniques and live coding environments. Jasmin studied Media Culture at Bauhaus University Weimar and was research associate at the Department Arts, Media, Philosophy at the University of Basel. She is a lecturer in the field of Media Studies and History of Technology.

Good-for-nothing (no. 2) and Good-for-nothing (pours)

Digital technology has fundamentally altered our perception of the world we traverse. And the smartphone, through its immanent accessibility has, paradoxically, made our experience of daily life more tenuous. The camera’s re-framing of the world through re-presentation is obscured by convenience and speed: there is no distance between the taking and viewing of a picture. Our memories become drained as we futilely ‘document’ reality in a hysterical attempt to preserve it. Digital accessibility has undone our ability to appreciate what is in the moment.

In that abstract space, the cleavage between reality and representation, our project attempts to dissolve this misperception. When we look at a digital photograph, we are not viewing nor participating in reality. By design, our project emphasizes the construct of digital images by offering observers large ‘pixel-like’ constructs that appear, disappear, alter, and reappear over extended periods of time. Though the pixel is the structural basis for the digital photographic depiction, when isolated, it is in fact riven from the photographic image.

Slowing down our perception of screen images, each ‘good-for-nothing’ artwork progresses algorithmically to offer an experience that is the antithesis of conventional photographic representation. Borrowing from the language of painting we utilize the screen as a substrate or contemporary \<canvas> onto/within which an artwork plays out as an event rather than the depiction of an event.

Rather than leveraging machine learning to create more opaque, inhuman programs that generate the most meager re-presentation of the billions of images we’ve already seen, Good-for-nothings [Good-for-nothing (no. 2) and Good-for-nothing (pours)] use simple, stupid, transparent algorithms to explore the nature of the screen-based substrate. Good-for-nothings seek to reclaim the (pseudo-)physicality of the screen, by embracing the paradoxes and contradictions between the materiality of the hardware pixel and the immateriality of the digital image.

Existing as the antithesis of the digital photo—which functions as an endless duplication of the same useless information throughout time and space—a Good-for-nothing is ever-changing. Through their dumbness, slowness, and stubborn rejection of closure they beg the viewer to engage slowly and contemplatively as they mark time while perception unfolds. Rather than concern themselves with the future, they exist only in the here and now, in a specific place and time, cleaved to a moment, and never to be seen again.

Nicholas Kersulis
Nicholas Kersulis’ practice (kersulis.com) applies systems of organization to cultural artifacts through formal devices such as montage, accretion, and erasure, and through the conventions of exhibition display and graphic design. Built into the resultant system is an implicit absurdity that questions the objectivity of the system itself—a systematic critique of systems in the form of a system. Currently Kersulis is exploring these concepts and maneuvers within the contexts of non-physical spaces. Theoretically the internet is an infinite space, but our engagement with its contents is finite and defined by our individual identity and by our physical interactions with it. Limited by these real-life, physical engagements with the ‘space’ of the internet, the limitlessness becomes an illusion.

Nathan Matteson
Nathan Matteson’s design practice (obstructures.org / skeptic.ist) is fiercely anti-disciplinary and ruthlessly collaborative. It operates on the principle that the best outcomes are the result of the worst arguments amongst the most people. As a general rule he maintains a state of displeasure, but less so when his work engages with the gaps, moments, mistakes, and fictive spaces between things. Matteson does not care what those things might be, nor what
medium, material, or mess from which they are constructed. He rejects the notion that design is able to offer solutions to problems and instead insists that problems are the output of any worthwhile design practice. He hopes to leave behind a series of interesting ones.

The Bug

The Bug is a single-page browser demo / digital poem / scream saver made for BrowserFest 2021. It glitches itself in three different ways, specific to image, text, and sound.

Nick Montfort studies creative computing. As a poet and artist, he uses computation as his main medium and seeks to uncover how the material and formal qualities of computing are entangled with each other and with culture. His computer-generated books of poetry include ! and Golem. His digital projects include the collaborations The Deletionist and Sea and Spar Between. His MIT Press books, collaborative and individual, include The New Media Reader, Twisty Little Passages, Racing the Beam, and Exploratory Programming for the Arts and Humanities. He is professor of digital media at MIT. He lives in New York City.

usuarios en la noche animaciones de barra 1997/2005

usuarios en la noche animaciones de barra 1997/2005

Video compilation with historical files. Archives of experimental and interactive animations made with a computer for bar counter, CD-R and internet between the years 1997 and 2005.

All the files were produced by the artist Osvaldo Cibils with the Macromedia Flash software (friendly interface) and various softwares (all hacked softwares) between 1997 and 2005.
Swf animations converted to video with Xbox Game Bar and Google Chrome Portable in 2020 and compiled to video in 2021.

“In 1997 I got my first computer a Macintosh Classic. Not knowing exactly what to do with it, I put it down on the table, sat next to it, and began to listen and watch as she made minimalist drawings on letter-size sheets of paper. Six months later I turned on the computer and made my first soundless animation titled “Bar Animation”. Between 1997 and 2000 I visited bars and clubs, I brought my computer with various sets of animations adaptable to various musical styles and, while people drank or danced, kissed and loved each other, my computer flashed artistic issues from the bar. Soon after I started creating my own noisy sounds and produced my first audiovisual works which I copied onto CD-R to send them to digital art festivals and / or exchange them with other artists. From 2001 to date I upload my works to the internet.” o.c.

video link https://youtu.be/lfTdyyBtHjg

osvaldo cibils sexagenarian artist in the art of contours in the art of knobs and in the art of clicks

custom rule

custom rule, 2020
Immaterial procedure artwork, web-based interactive program

A minimalist conceptual procedure artwork to make users feel their illusory prospects of changing the rule, the system.

The program has a “bug” (backdoor) that unlocks a hidden feature to hack the system and break the rule: find the one cracking customisation among 54,116,587,929,600 possible combinations by moving the sliders.

Talking about the internet, especially regarding web “2.0” front-end interfaces to interact with the system (institutions and the mainstream), the user customising preferences are actually negligible and distracting frills. You can customise the aesthetics as you like, but the underlying rule always stays the same: flavours, candy coatings that serve to disguise or to make the ruling system more cute or looking petty, just like painting a prison’s walls of pink. Many amusing applications and funny gadgets are already used by rulers to control you by knowing you. The rule is always the same: people are the prey, but in most cases they are not even aware, they do not even know who is the ruling predator.

See the full description here:

Interdisciplinary being


AGITSENT, Department for AGITation of SENtiment & Trolling
ABSTRACTION OF LEFT VS RIGHT/textual promiscuity

Should we embrace uncertainty and chaos in the form of internet abstraction such that it resists the rationalist tendencies of capitalism? Troll the adherence of rationality.

AGITSENT is a derailed AI-meme-machine that continuously generates meme-like content online. The project makes use of several algorithms to generate its content, and relies heavily on the use of machine learning. The AGITSENT-pages reload automatically, so the viewer can sit back and experience the project. Albeit that there is also the possibility to interact with the software, with for instance an AGITSENT chat bot. A meme-chat is going on in the background and often pops up during the automated sessions. This chat serves as a vehicle to peak inside the software to communicate some of its machine generated choices.

Jerry Galle’s work is all about the sometimes di cult relationship between digital technology and contemporary culture. He uses recent software and digital imagery in an unconventional way and stresses the role of technology in our daily life and artistic creation. His work explores the way how technological images and texts can produce new meaning. For Galle these ‘techno-texts’ and ‘techno-images’ can be geometrical or symbolic, playful or dead serious.
Digital doubt plays an important role in his work. He encounters this theme by the binary structure of the computer, meaning the 0 and the 1, the ‘yes’ and the ‘no’ of our contemporary technology. In a society where doubt is considered to be an unproductive quality, technology with its compulsive e ciency, has a pervasive e ect on our social behavior. But when digital doubt is injected into a computer system, strange things happen.
Recently Galle explores the use of language that is co-created with arti cially intelligent algorithms. The mediation of the world through ever circulating and replicating texts that are both bot and human generated, have had a dramatic impact on conceptions of politics, culture, economics and language itself.
His work has been shown in Muhka, Bozar, Museum Dhondt-Dhaenens, British Film Institute, Wiels, International Film Festival Rotterdam, EMAF, International Film Festival Hamburg, Museum Dr. Guislain, Ars Electronica among others.