Having learnt almost everything I know from the internet, I'm a strong believer in DIY culture and the free sharing of ressources online. In fact if you're looking for online ressources you should check out the educative content on my blog and the code on my github page.

These last few years I've been striving to make digital art both accessible and inclusive for students, artists, designers or anybody genuinely interested in the topic. To do this, together with the Glitch Artists Collective we've encouraged and created online spaces for artists to share their processes, created code repositories to compile contributions, and hosted physical events dedicated to lectures and workshops on the subject. As this has been steadily taking on an important part of my life, I gradually realized that I enjoy teaching a lot and decided to collaborate with people outside of our art circles too.

So in 2016 I started collaborating with institutions, schools and NGOs to propose both lectures and workshops for their publics. You'll find listed here the projects I have developped for this purpose and that I have been touring with since then.

JPEG Crush

workshop - creating glitch art

"Glitch Art is Dead" in Minneapolis, USA // pic by Sabato Visconti

length of workshop : 2-4 hours depending on students level
number of students : 10-30 depending on if school can provide teaching assistants
requirements : videoprojection display for the class and a computer for each student

As our lives continuously get transcribed into bits, our relationship with data keeps changing; binding closer. The ability to control the usage of data, of information, is in the interest of anyone who has pieces of themselves stored somewhere. JPEG Crush is a workshop aimed to introduce the public to the flawed aspects of our visual society. Demystifying compression technologies and reclaiming them by databending techniques is the first step to understanding the digital spaces where our databodies sonder. From random hex editing to specific markers of the jpeg format, the corruption case study will be set on content uploaded to social media. Without prior experience required and an adapted content depending on the audience’s responsiveness, every participant will leave with a glitch and guidance towards further experimentation.

Affective Artifacts

conference - critical media throughout history

artwork by John Bumstead aka RDKL inc.

length of conference : 1-2 hours
number of attendees : no limit
requirements : videoprojection display

If today we feel a certain nostalgia towards the crackling of a vynil or the grain of an image taken with an analog camera, it is because these marks bring us back to another time. These marks, also called affective artifacts, are an integral part of each media, and mark us so much that they are sometimes even re-invested and re-employed artificially in the service of a popular aesthetic. But in the context of today's media, on the contrary, we often judge an image according to quality criterias with a precise vision of what we think is high or low definition. And yet, these ideas do not come from us, as our opinion is built parallel to the techno-capitalist race that digital companies participate in to reproduce a hyper-realistic world, an endless search for a noise-free channel that is ultimately a dogma with a tragic fate. Therefore I ask you, what do you think will be the affective artifacts of tomorrow?

Hacking && Coding for the Arts

a two-semester program for schools and universities

Hajklab Workshop using tomato.py // pic by kkz-hr

rythm of class : 2-4 hours, once every week for 6 months
number of students : 20 maximum
requirements : videoprojection display for the class and a computer for each student

Hacking and Coding for the Arts is a combination of two one-semester long programs designed to teach art and tech students critical thinking in their respective fields. The first semester is focused on web cultures and the chaotic nature of computers, whilst the second is focused on building from ground zero through the use of code. Both programs include theory and practice, giving attendees keys to understand and transform the digital world around them.

The two programs are broken up as follows :

Semester 1 - Hacking

1 - Pre.Histories of Digital Art

2 - Feedback art & the Analog World

3 - Internet Culture and Net.Art

4 - Internet Culture - Memes & Affective Artifacts

5 - Hacking, DIY Culture and Digital Activism

6 - Interface Defacing

7 - Glitch Art - Concepts & Philosophy

8 - Glitch Art - Reverse-Engineering Image Compression

Semester 2 - Coding

1 - Code Poetry

2 - Practical Code & Esoteric Languages

3 - Basics of Code - Generic to all Languages

4 - Coding for the Visual Arts in javascript with P5js

5 - Generative Art throughout History

6 - Drawing, Animating and Giving Life to Shapes

7 - Digital Morphogenesis : Modelling Coral-like Structures with Code

8 - Bringing Code Art into the Physical World : Pen-Plotters

End of year projects

During the second semester, each student will take part in a personnal or collaborative project that they will be presenting at the end of the year. The project will be a response to one of the problematics brought up in class and lead a new perspective on that matter. If a grade is required by the school, the students will be evaluated on this same project.

If the school allows it, the last month of class will be dedicated to setting up a group exhibition with all the student works. Thus offering them a real life experience of event organizing and curating in the fields of digital arts.