Curators: Tom Milnes and Emile Zile 
Artists: Ian Keaveny, Sarah Levinsky & Adam Russell, Kiah Reading, Tom Smith, Joshua Byron, Marc Blazel, Samuel Fouracre, Micheal O’Connell, Naomi Morris, lyve_forms, Mette Sterre and Amble Skuse. 
1st Nov 2017 - 31 Jan 2018. 
FAILURE IN CHROME showcases the talent from around the world working with digital performativity. Artists’ work deals with research interactions between digital, online spaces and/or their physical materiality within performance, with an approach which creates discourse around error or failure within these manifestations. Each artist will exhibit for one week on DAR’s online residency space with a live-stream performance at the end of each week by the resident artist. 
22nd Nov - 28th Nov 
Tom Smith  
I have been thinking about linguistic structures, known since 2004 as ‘snowclones’.[I] Snowclones are phrases in which certain words can be altered and substituted, while retaining the phrases’ overall structure. They are malleable clichés in which the relation between entities is fixed, but the entities themselves are interchangeable. For instance Arthur C Clarke’s maxim “Any sufficiently advanced technology is indistinguishable from magic” – could be thought of as a snowclone—‘technology’ and ‘magic’ can substituted with other entities. It could be rewritten as “Any sufficiently advanced ____ is indistinguishable from ____ ”More examples can be found here - 
The snowclone exemplifies the structure of an example; for Georgio Agamben, an ‘example’ is “Neither particular nor universal”.[ii] Examples are neither singular, nor generic—and yet, like Snowclones, they are both these things. This week I will try to inhabit an eerie connection between the universal and the particular, by identifying snowclone-like structures in different mediums. I will try to represent the difference that inevitably leaks into iterative processes, and to play on the contradictory nature of various forms of standardisation. 
Here is a snowclone I prepared earlier. I’ll be writing these all week: 
Any sufficiently advanced practice is indistinguishable from doing things 
Any sufficiently advanced software is indistinguishable from a preset 
Any sufficiently advanced critique is indistinguishable from thinking 
Any sufficiently advanced pastime is indistinguishable from leisure 
Any sufficiently advanced artwork is indistinguishable from prestige 
Any sufficiently advanced argument is indistinguishable from negation 
Any sufficiently advanced meat is indistinguishable from an animal 
Any sufficiently advanced weaponry is indistinguishable from violence 
Any sufficiently advanced film is indistinguishable from cinema 
Any sufficiently advanced geopolitical strategy is indistinguishable from self interest 
Any sufficiently advanced corruption is indistinguishable from opportunism 
Any sufficiently advanced platform is indistinguishable from a web-store 
Any sufficiently advanced wav file is indistinguishable from music 
Any sufficiently advanced jpg is indistinguishable from a tiff 
Any sufficiently advanced pork product is indistinguishable from a pig 
Any sufficiently advanced piano is indistinguishable from the bourgeoisie 
Any sufficiently advanced tactic is indistinguishable from a repeatable plan 
Any sufficiently advanced philosophy is indistinguishable from its thesis 
Any sufficiently advanced dialectic is indistinguishable from the arc of history 
Any sufficiently advanced book is indistinguishable from a long article 
Any sufficiently advanced container ship is indistinguishable from its cargo 
Any sufficiently advanced pandemic is indistinguishable from population control 
Any sufficiently advanced pathogen is indistinguishable from its vector 
Any sufficiently advanced relationship is indistinguishable from its narrative 
Any sufficiently advanced ego is indistinguishable from a will to power 
Any sufficiently advanced border region is indistinguishable from a threshold 
Any sufficiently advanced portal is indistinguishable from a door 
Any sufficiently advanced poem is indistinguishable from a sentence 
Any sufficiently advanced sport is indistinguishable from a contest 
Any sufficiently advanced lie is indistinguishable from swift boating 
Any sufficiently advanced strategy is indistinguishable from a plan 
Any sufficiently advanced synergy is indistinguishable from a connection 
Any sufficiently advanced campaign is indistinguishable from coercion 
Any sufficiently advanced political party is indistinguishable from a gang 
Any sufficiently advanced musician is indistinguishable from an entertainer 
Any sufficiently advanced tradesman is indistinguishable from a sculptor 
Any sufficiently advanced human faeces is indistinguishable from canine faeces 
Any sufficiently advanced error is indistinguishable from oversight 
Any sufficiently advanced red herring is indistinguishable from the truth 
Any sufficiently advanced truth is indistinguishable from a truism 
Any sufficiently advanced cliche is indistinguishable from a classic 
Any sufficiently advanced exhibition is indistinguishable from a selection 
Any sufficiently advanced organism is indistinguishable from a model 
Any sufficiently advanced recipe is indistinguishable from a dictum 
Any sufficiently advanced dictum is indistinguishable from advice 
Any sufficiently advanced advice is indistinguishable from instruction 
Any sufficiently advanced instruction is indistinguishable from a proverb 
Any sufficiently advanced proverb is indistinguishable from a commandment 
Any sufficiently advanced commandment is indistinguishable from a law 
Any sufficiently advanced law is indistinguishable from a pillar 
Any sufficiently advanced pillar is indistinguishable from a foundation 
Any sufficiently advanced foundation is indistinguishable from a charity 
Any sufficiently advanced charity is indistinguishable from tax avoidance 
Any sufficiently advanced tax avoidance is indistinguishable from liberalism 
Any sufficiently advanced liberalism is indistinguishable from anarchy 
Earlier in the year I made this video work below, Topoi Koinoi, while thinking about infrastructure and the generic, the most basic elements common to life in consumer economies—which led me to start thinking about snowclones and the permanent relations between dynamic elements. This work also has a written component that scrolls bottom left. 
I was writing about the concept of the generic at the time and trying to work out ways of representing it. The poem is a kind of expanded snow clone in the sense that it is designed to cumulatively broach a generic relational structure that frames all perceivable entities and qualities within others. Each entity is nested within another entity that is both its result and its genesis; an artist cannot exist without a network, and there is no artistic network without artists, and so on. In the same way that all these chains of association appear to merely describe themselves, I sometimes feel that artistic production can be thought of as a sort of tautology that always redescribes the new as it is produced over and over, and so in a sense I think of the new as being always inaugurated. In other words the new itself is generic. 
Messages have senders. Games have players. Institutions have email. Streets have names. Galleries have walls. Citizens have possessions. Universities have admin. Paintings have frames. Tracks have 808s. Artists have networks. Most things have marketing. Garden hoses have a diameter of 12mm. Train Stations have no bins. Shows have concepts. Concepts have frameworks. Travellers have experiences. Cruises have casualties. Water has edges. Coups have plotters. Whatsapp has read receipts. Credit cards have a thickness of 0.76mm. Sport has winners. Fashion has icons. Weight has losers. Music has fans. Music has play counts. Music has video. Video has duration. Video has reach. Poetry has open mics. Sculpture has shapes. Sculpture has things. Work has impact. Walking has benefits. Roads have crossings. Pipes have capacity. Ships have draft. Suezmax class of tankers have 21 metres of draft. Credit cards have interest. Doors have negative space. Farms have produce. Dogs have malleable genetics. A 600ml Mount Franklin water bottle has 12.8 grams of PET resin. Robots have a lot of work to do to catch up with our expectations. Trucks have loads. Tripstacy has risks. Speakers have cones. Shipping containers have a length of 6.56 metres. Automation has winners and losers. Soundcloud has play counts. Sydney has low porosity. An autobahn has lanes 3.75 metres wide. Alaska Projects has reverb. The City of Sydney has real estate. Intersections have smashes. Cows have iron. Computers have processing power. Processors have duocore. A door has standardised dimensions of 762mm x 1981mm. Liberalism has problems. Communism has problems. Difference has value. Sameness has value. Carpet has pile. Keyboards have intervals. Synthesizers have oscillators. Nihilism has its own ethic. Trance has buildups. Groups have dynamics. Cities have visions. Suburbs have gentrification. Newspapers have portals. Stories have comments. Films have credits. Shits have stink. Seats have voters. Parliament has members. Pools have lanes. Hong Kong has malls. Malls have lighting. Receipts have amounts. Invoices have ABNs. Lifts have levels. Carparks have spaces. Kings Cross has been cleaned up. Rain has acid. NSW has corruption. Mindfulness has advocates. Meditation has practitioners. Oceans have currents. Materialism has no material. Journals have peers. Professors have reps. Everyone has a rep. Journalists have scoops. Instagram has a code of conduct. Facebook has users. Warehouses have cultural cachet. Drake has credibility. Drake has no credibility. Lamps have bulbs. Bulbs have tungsten. Tungsten has a light temperature rating of around 3000 degrees kelvin. Objects have hype. Theory has detractors. Philosophy has bros. Art has administrators. Curators have nous. ARIs have vollies. Everything else has interns. Indoor plants have a calming effect. The Earth has axis. Space exploration has hurdles. Mars has potential. The general intellect is ambivalent. Pottery has earthy connotations. Darlinghurst has euro four wheel drives. Conferences have registration fees. Healthgoth has suspect politics. Analogue distortion has pleasing harmonics. An octave has 12 semitones. A triad has three tones. A concerto has a hierarchical labour structure. Factories have floor managers. The MPC1000 has pads. Protools has a manual. A bassdrum has weight. Air traffic has control. Awards have sour grapes. Networks have nodes. 
[ii] Agamben, G. (1993). The coming community (Vol. 1). U of Minnesota Press. 

Don't hate the player hate the game  

*Don’t hate the player hate the game 
Don’t hate strategy hate the field 
Don’t hate the discipline hate the plane 
Don’t hate the department hate the agency 
Don’t hate the impetus hate the ethic 
Don’t hate the faith hate the policy 
Don’t hate the plan hate the initiative 
Don’t hate the project hate the admin 
Don’t hate the organisor hate the management 
Don’t hate the campaign hate the staff 
Don’t hate the contractor hate the customers 
Don’t hate the inventory hate the supplier 
Don’t hate the merchant hate the buyer 
Don’t hate the consumer hate the chosen one 
Don’t hate the deity hate the follower 
Don’t hate the sheep hate the influencer 
Don’t hate the cool kid hate the platform 
Don’t hate the server hate the user 
Don’t hate the prospect hate the dealer 
Don’t hate the dark web hate the invigilator 
Don’t hate the technician hate the front desk 
Don’t hate the craft hate the front of house 
Don’t hate the social practice hate the backend 
Don’t hate the low key genius hate the CMS 
Don’t hate the form hate the markup language 
Don’t hate the provider hate the protocol 
Don’t hate the program hate the TLS handshake 
Don’t hate the cable hate the cloud 
Don’t hate the drop shadow hate the facility 
Don’t hate the warehouse hate the install 
Don’t hate the drill hate the intern 
Don’t hate the middle class hate the free labour 
Don’t hate the casual hate the factory 
Don’t hate the social hate the general intellect 
Don’t hate the autonomy hate the innovation 
Don’t hate the new hate the ruse 
Don’t hate the pretense hate the reason 
Don’t hate the feeling hate the alibi 
Don’t hate the excuse hate the rebound 
Don’t hate the fad hate the spurned 
Don’t hate the rejection notice hate the future 
Don’t hate the application hate the universal 
Don’t hate the generic hate the steel 
Don’t hate the diamond hate the chain mail 
Don’t hate the poem hate the mail chimp 
Don’t hate the spreadsheet hate the promo 
Don’t hate the word of mouth hate the promise 
Don’t hate the cooling off period hate the emerging 
Don’t hate the probation hate the underground 
Don’t hate the invisible hate the mid career 
Don’t hate the mediocre hate the doyen 
Don’t hate the OG hate the outsider 
Don’t hate the lost hate the pundit 
Don’t hate the critic hate the curator 
Don’t hate the security hate the punter 
Don’t hate the name hate the list 
Don’t hate the fraternity hate the end 
Don’t hate the final countdown hate the hiatus 
Don’t hate the break hate the in-between 
Don’t hate the sabbatical hate the term 
Don’t hate the period hate the opportunity cost 
Don’t hate the time share hate the object 
Don’t hate the object hate the thing 
Don’t hate the entity hate the realisation 
Don’t hate the epiphany hate the daze 
Don’t hate the ignorance hate the waking hours 
Don’t hate the subsumption hate the plural 
Don’t hate the squad hate the entrepreneur 
Don’t hate the disruption hate the continuity 
Don’t hate the contiguous hate the non binding agreement 
Don’t hate the motion hate the focus group 
Don’t hate the treatment hate the placebo 
Don’t hate the malaise hate the raw vegan 
Don’t hate the disorder hate the anti-psychiatrist 
15th Nov - 21st Nov 
Kiah Reading 
Pure reason & bass 
When first talking about this project I had recently listened to Keller Easterling quote someone to say, truth is at a huge disadvantage because it’s only got the one story to tellStupidity is at a huge advantage because it can take on all the guises of truth and change its story constantly. 
Pure reason and bass is audio and text fragmented and reduced to individual words, lines, ideas and pieced back together in a live, random, non-linear and never ending soliloquy, an infinite slippage based on the ambiguous side of language (as excess). 
These websites, which can be performed by all, become exercises in a reopening of the indefinite, the act of exceeding established meanings and providing a moment for philosophical verses and soundFX to enter a zone where they lose their extrinsic references and coordinates and re-emerge confounded with new confusions. 
Questions responded to by the wrong answer, new versions of old ideas, understanding more or less. 
Below is an example of these websites performed. Open these three links (I, II, III) in your own browser to give it a try. 
Browser history quickly becomes some kind of tabular, notations of performed sites and patterns.  
Over the week I will continue to experiment with ways to code experiences that may mirror our online gestures but generate very different results.  
Above and below are experiments in performative browsing where scroll events trigger electronic samples. 
Test it out here or below. /\/\/\ increase volume /\/\/\ 
Dune pt. 1 for your listening +pleasure+ through this link. 
Using similar code as earlier in the week I replaced .mp3s with .mp4s. Test left and right eyes. 
Excerpt from performance below.  
8th Nov - 14th Nov 
Sarah Levinsky & Adam Russell - Tools that Propel 
TONIGHT @8pm Tues 14th Nov // Youtube live stream below... 
Day 5 // 
(Adam) It seems very fitting that as I was writing this update about trying to remember all the changes made in the last couple of days, I accidentally deleted my draft post with no backup, and had to remember what I wrote about trying to remember things. In fact this is a crude example of my core interest in Tools that Propel. Sedimentary layering of action upon memory becoming memory driving action becoming memory, a recursive folding back-and-forth over time, supported by some kind of inscription or mark making. Does it matter that we cannot remember what we just said, or wrote, or what movement we just performed? A tool can prompt us by playing back recordings of our past actions, but these recordings can never really encompass 'what we were doing' in the past. However this is not a problem, since what really matters is for the playing back of recordings to become a part of 'what we are doing' in the present. I was reminded today of the following quote: 
"This table bears traces of my past life, for I have carved my initials on it and spilt ink on it. But these traces in themselves do not refer to the past: they are present" M. Merleau-Ponty (2002 / 1962) Phenomenology of Perception p.479 
Day 4 // 
Experimenting with various different video outputs/aesthetic choices. Looking at the impact on choreographic decision making and the performance space. 
Day 3// 
Thinking about group improvisation with Tools that Propel. How to relate to it when there are other bodies in the space and it is not directly tracking you. What is the materiality of the sensor/camera itself? What is the importance of interacting with the system as a material body rather than just a reflective mirror/projection/distortion of your live movement? Keir mentions he thinks that there are three different performers within the improvisation.... the 'active performer' who knows that they are being tracked and is very deliberately front facing... the 'subactive performer' who is dancing with the active performer and trying to become the one in control, the one being tracked... the 'passive performer' who knows that they are in the dance/composition but not being tracked, who is interested in creating (incidental) presence in the memories. What is the sensor or tools that propel judging as 'important' and what becomes interesting because it is captured even though it wasn't focussed upon...? How does this infect/affect the dancer? There are lots of conversations about what the system reveals to them and how that is isn't what they thought they wanted to focus on in their movement but that there is information in it for them to use... 
We also started to explore how Tools that Propel might forget memories not simply based on being the 'oldest' memory (ie. forgetting number 1 when number 21 is made and so on) but on the basis of it being the most used. There is a question over whether it should be based on the number of times that memory has been played or the time spent in the memory.  
Day 2 // 
Today we were joined by two new dancers (Keir Clyne and Katherine Sweet) as well as most of those from yesterday. It has been so interesting working with the dancers with Tools that Propel. The system has become a choreographic collaborator and with every time the dancers improvise with it we learn more about its potential. Yesterday there were interesting discoveries about what was happening for each of them on their first encounter with it, from some of them wanting to cheat the system, creating new movement to try to ensure that it didn’t recognise them, breaking their own natural movement pathways by exploring new trajectories, and others talking about retracing their steps, getting lost in a maze and moving through the data. As they learnt to play the system or interact with Tools that Propel as a collaborator or dance partner they have become more playful and more sensitive to the potential of their exchange with the ‘decisions’ made by the system. They were developing duets with it, each with a different motivation or task – for example to try to focus on exploring an emotional expression from the encounter, to focus on the incidental or the chance element – what the system deems is an important memory to play back – or to make decisions about how much to engage or reject its offerings/decisions/memories. 
Today we explored the idea of feeding it with a choreographic phrase that each dancer had already developed. This felt very different – like playing amongst saturated memories – and suggested the potential of it to make their choreographic decision-making more complex, impacting on the ways they thought about the material, its dynamics, its directions, where it took place in space. They each seemed to have a different relationship with the system, and sometimes that seemed to be formed by a number of variables, for example how much it seemed to be struggling with the tracking of their movement (some movement seemingly being more easily aligned by it), or how closely it tracked it, or the fact that it seemed sometimes to ignore or not respond to a particular type of movement, as well as the motivations of each dancer towards it. There were bugs in the system today too – but this is an enquiry which accepts them too and just allows that to be part of what produces the new movement. Sadly, due to a bug we lost most of the session footage from this task. 
(the video above shows side-by-side comparison of the input and output video streams; our movers could only see the right-hand image) 
Day 1 // 
We spent much of today in the studio introducing Tools that Propel to five dance students who will be assisting our residency over the coming week: Rebecca Moss, Brandon Holloway, Holly Jones, Maria Evans and Yi Xuan Kwek 
We worked on solo and group improvisations, exploring different ways of working with the system. We began to prototype a multi-body tracking setup but this is not quite ready to show yet. By the end of the afternoon we switched back to single-body tracking and were encouraging our movers to 'compete for focus' by moving up close to the Kinect sensor and getting in each other's way. This created an interesting in-out motion which we hadn't seen so much previously, and more chaotic entanglements of multiple bodies in shot. It was often unclear just who was currently driving the system. 
For some months we have been working together to develop an interactive digital environment called Tools that Propel
Tools that Propel is an interactive video installation or tool that invites participants to evade stable classification of their movements as they improvise with it. To reveal their own live reflection, the participant must present the system with motion and gestures that are not recognised. If it recognises and has tracked their gestures they find themselves engaging with similar footage from both their own recent past as well as the traces of movement made by other people who have interacted with the system before them. Participants can try to bring back these recordings, creating an onscreen choreography from present and past movement, personal and collective memories. 
1st Nov - 7th Nov 
Ian Keaveny - The digital past is a foreign language  
My work is based on forcing software and hardware to the point of failure, through hex editing ( changing hex values in a video or audio file ), Sonification ( opening video or image in an audio editor) misinterpretation, ( similar to Sonification but interpreting say a text file as sound ) and the exploitation of hardware faults found in older computers when mismatched with more modern operating systems what is known as Glitch art . The idea for my residency started with a simple question what would the Internet look like to Windows 95 , how would it read it , given how much the Internet has changed visually and technically since then ) and what kind of work could I make with the programs of that era ? If the digital past is a foreign language could I learn to speak it again – and more importantly where would I like to go today ? 
The installation process sometimes feels like shamanism, coaxing old hardware back into life, revisiting the digital past as an archeological process involving failure , burnt out psu's and case cut fingers . Video is of installation process of Win95 recorded using webcam then cut into images , each image converted to ppm format , hex edited then reassembled using ffmpeg in Linuxmint - the video is then datamoshed using a ruby script and finally rescued using Flowblade . 
Having installed it what will I do with it and what does my desktop sound like ? 
I found an obscure program that was designed for blind people to use as a kind of radar , misusing the program I explored the desktop and found I could create feedback loops and disintegrating icons and text like a continuous asemic dialog . 
Internet explorer 3 vs the web , browser error in rendering text . 
What am I seeing how do I fix this , do I want to fix this ? ( browser rendering error - internet explorer 3) 
Today I was lost in the screensaver maze 
So I looked at the maze as sound and through processing using a webcam to feed the output of the screensaver in motion to a second computer running a modified pixelsort script , adding sound from the earlier video and upscaling . 
Browser render error and misdirection 
Percent percent percent percent dollardollardollar +++++////// This is an earlier video of the win95 maze screensaver sonified using audacity then rerendered using flowblade ( broken files need fixing) the sound is created using a text to speech engine fed with a screen grab image rendered into text using pinxy ( an ancient ascii art maker ) image as text as sound , screensaver as mapped sound as video . 
Exploring the extras hidden away on the installation cd ( slitscan of hover ) 
Language activated desktop . 
Partly sunny ( html code and text from MSN via internet explorer 3, turned into speech /chant) video is asciified version of video found on installation disc turned into Dirac then hex-edited). 
Video taken from installation disc , chopped into stills using an asciiscript in processing , reassembled as mp4 then chopped into stills and run through glic encoder in processing , finally reassembled and uploaded. Happy Days in an alternate reality . 
Where would you like to go today ? 
With the way that I work , and by using different codecs and methods of attacking those codecs ( the above is webm , one of my favourites ) similar source material can give widely differing results each codec having its own texture and breaking points . Again the source is a win95 screensaver read to file using an hd webcam on a secondary computer then hex edited and recaptured during playback using a screencapture program - broken files will often not re-encode correctly but will play in say vlc or mpv. The sound is a series of texts ( some system files from win 95 read by a txt to speech engine ) played with in audacity and then layered . 
Access denied - wait what just happened there ? 
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