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Well, thanks so much for coming
in, like they say, my name is Mary
and I defined my practice as Chiarello,
that means throwing out graffiti quite
happy. I work with all technologies
like for analytics
and for me.
Yeah, use that because or
both share these grid as
a framework around the decorator's
instructions.
So we live in a time that
we don't really like.
The software became of solid even
before we learned how to use it.
And I think that working with these
technologies is some kind of challenge.
But my background is not the actual
computer. So I came from the
analog black and white photocopies
and the collage and I start to work with
low pixel graphics 2004.
And I did Leja basically for
my night work related to musicians
there during almost like six
years.
And at some point the Bixler didn't
really.
Yeah, well, it does get boring.
So I decided to change
a pixel for the characters
and the reason you lie.
Yeah. So I moved to
Sweden and somehow I get in touch with
the demo scene and this is
the fork into my life, so
and I start to work with it in the demo
bodies. So I
and basically I learned
how to yeah.
Ladies find these like pizzicato like
they've got a third set for the
characters of what this is before.
And I combine like different things that
I was interested in, like storytelling.
Carter said slow.
It is the 3D war for like craft,
the light, everything that you do with
your hands, like the stress strategy of
the Keever and actually where
the keyboard is. Loihi came up
like the keyboard of the
Yeah quotation for a forgiver unsalaried
as the technique for craft.
And I also was interested in the grid and
Saige sometimes.
And I think that the text got out there
or in this case the and investigators
are kind of like role
and broadcast like concrete.
So they have a lot of similarity with
their architecture.
So I also relay that is like three,
four and yeah, just
completely raw and brutal.
And I really like the idea of the
situation and also overlay
the demo scene.
And I
also get in touch with 2011
with a teletext engineer that he milady's
insert their insert there so you can
take Twitters in teletext.
So start to work with him for like using
teletext for uh, for me since everything
was based just in it and
the acrostic they write that.
So yeah, as I say,
like yours is just like the
other hand. And uh, and it's basically
like what you do is what you get.
So you just type characters like a
typewriter, like a concrete form
and you just build that animation
graphics from scratch so there's no
control set so you can not go.
So you have to do it in one
chance and that's it.
You fuck it up, you have to start all
over again.
So here's a little bit like
what kind of
like a statement,
to be honest or so.
Yeah. Basically for me, like using this,
the technology is not like
a souvenir from the past, like just
something that is for archive
or for a story to sell out.
Anyway, I think this
is a challenge because
it puts you a little bit.
So it's not like
it's just a dialog between technology
and yourself and you just have
to give to give up
because basically
everything that you do is just show it.
And and there's no and just
it's all the mistakes and everything
that you saw is that kind of like an
honest and real way of working.
So, yeah, this kind of research
with this small Tumblr, we've got the
idea from 2012, 2014
that everything that was related to light
from textile architecture
obvious.
Well, all of them were seen all day,
Askhat, just as a way to
frame it, what I was doing.
So and from the
research, I can in my own practice.
So I decided that, yeah, this is kind of
like the first ten minutes of what I
work with it.
So it's like drawing, drafting by typing.
So it'll float flat and brutal.
So it just straightforward and
uh, and for me also nostalgic, retro
unlimited is the rhetoric.
Quality is a constant repetition because
I don't have this computer, I don't have
the nostalgia for them.
And I think that people didn't
really know how to splain just to not get
into the lo fi or the a bit or
that. So they just use this
limitation and retro and just
and I think it's a little bit more than
that.
And I think is you, sir.
And the problem with all
technology is normally just like,
yeah, as I say, archive or
to sell out, but nobody really meant for
just being used.
So that that is all that.
I mean, there's still no, it's just that.
So you can actually still working and
learn like new things every day.
So yeah, this is basically the their for
the Commodore 64 and the Betty.
So we have like these.
Yeah. Letters and all these symbols
that you can combine and you can create
like different the almost like.
But I'm not interested in letters
only.
Yeah. Decoration or like wallpaper
and reinterpreting the animation and the
storytelling and how you can combine
these to create the whole story.
So yeah.
So I started the demo scene.
So one of these demo parties in Sweden,
my friend was DataStore in 2011
and I just sit there and I have to push
yourself and do something in two
days. So it in the in
the competition and you just have one
chat so people like it or people don't,
but you don't talk about it.
It's just what it is.
So and I really like this idea of labels
yourself and just try to do your best
and if you fail, well, you try it again
and feel better.
So this is a little bit of samples
of several demos we did
like with the High Country Group.
So in the graphic where we've got the
idea, musician and madman
and this program.
So we just present these.
Yeah. These few demos that compose.
And yeah, it was
very funny like
that in several days.
And yeah, this is like a standstill.
Graphics just do with, with
your characters. It so
that was for a competition legacy.
Is there a competition online
that people can send me like better
graphics.
And yeah, you can see you can combine
all these symbols and everything just to
gravies these graphics.
So this is like several examples
just using their got their set.
And yes.
So can create all kinds of things
at this point.
Yeah, I know the story I did like several
yeshivish on the show in this particular
lady full screen in Paris.
And this is like a residency in
Bergen. So it does have one week and we
just did this monster.
I thought the monster with it was going
to divorce.
And yeah, to our resident this year in
Strasbourg and the festival,
a fantastic film festival.
So I did this performance of late.
They've been just sitting down and
typing an animation from scratch.
And it's also the name of this talk is
called Keyzer Furi.
So these are the several examples of,
uh, yeah, they're maps
that the all animations that you can
see in a full fish.
And I also took the
several character sets from the Commodore
64 and I just then later got
there and just Bellson was like that.
You can apply for four or also for my
sake, because it's just the same system
is the grade is the framework and
the content is destruction's.
And yeah. So you can take it outside
and do the Slansky play.
But he says the
can be something else and
uh. Yeah.
And this is
like a teletext show with the Raspberry
Pi and you can create like your own
teletext signal. So you just need like
the television with the other
unsign. So buildOn since it wasn't a
standard, so that was a
threat of fate.
So you can choose your destiny until it
works. So you basically choose a page
and there it is then and it will give you
your fate.
And so there was also teletext
then for another edition.
And this is like a samples of printing
from the from the screens.
Yeah. And it was in the er
the text. So this summer and find
one of the graphics in there in
the, in the television libraries
in the eight eight five channel
set in their delivery system.
And the Motorola organizers
said that at the festival in 2012
in Finland for the third anniversary.
So you can send teletext art
and they will put it on there on a
television and it and it
went also to the A,
R, B, and they were doing also this
festival and even sovereignly teletext
on the for real in the TV.
And yeah, there's some kind of print and
there's also like a book.
And yeah, this is also like cross stitch
and so
these from the teletext.
So you can actually do like Crossley's.
But so at the end you can combine all
these different techniques and you just
have the basics.
So it works kind of the same.
Yeah. And also this is like the
shape into um.
Yeah. Like a laser cutter.
So you can these have this Harvinder.
Yeah. And this is like a
live performance
mixing teletext.
They are they right there on 64.
So everything was great from the scratch.
And uh musician Alexandre
Allinson, friend from Sweden, see what
does having like these microphones and
collecting all the sounds from the keys
and building all the music from scratch
and.
Yeah. And I want to show you a video, but
I think I it out
so. Yeah.
And this is also a secretary.
I use this for like an hour only because
there is like this person that you
entrust with a secret is like the kind of
their, you know, their work.
And it's so I want to make some kind of
like irony about the typist
and how you just built it just by typing
and.
Yeah. So you can see different examples
to supply from the teletext, but to the
typewriters.
Oh, I'm going fast.
So but I think the best
way to show all this because
I have a video but I messed
up so I just want to show you a video
and I would like to to show
you how I built this.
Uh, yeah.
Animation from scratch.
But I misplace it so
I need to find it.
And
no,
sorry for this.
Uh.
Yes.
So this is a video make for this
and
this young girl, Ceefax,
I think, and it was just
not you.
And
said yes.
So
and there's no sound
it's a mini jack here, sorry.
So, yeah, this video, it
was just being built on.
This is the forward just by a scratch,
just by typing. The characters are now
using software that records all the
keystrokes and they're like,
well, there's no copy paste or set, so
you just need to see it on tape.
And just when you're finished, you just
save it.
And so I want to show you this
first.
There's no sound yet.
So now,
OK, so
we changed to this.
Oh, yeah,
so OK, so
the thing.
So actually you can just, uh,
I mean do just turn it on and you can
actually start typing like
you can not save it, but you can
just start typing and,
uh, just allow the characters and
the colors, uh, with a keyboard
and just go and start.
Yeah. Like combining all the different
symbols
and built all the things
just
so. Yeah.
You can see this over speeded up because
I'm not that fast.
So you just combine different
symbols and just build
like whatever you want.
Yeah, yeah, and you
can see, like everything I do, if I
make a mistake, you just see everything
and it's kind of so if I
fuck it up, be my fault.
So you cannot blame the computer is too
slow to realize through all
noise is just me.
I'm incompetent.
And it's so.
It's so and that's how
I like it about it because you kind of
push you over. You cannot blame anyone
rather than yourself.
So I neither know
does have a lot of fun and just me
or combination with all these different
characters.
And sometimes you make shit and
move on tomorrow, maybe try again.
But um.
Yeah. So this is actually this over.
Uh and of course I don't
use floppies. This is kind of like an
advanced piece of hardware that is very
nice. So I'm going to spend time doing
it.
So this is the software I use
that is just it based on the
latest Leathern operator operators, so
basically just record all these
keystrokes so you Desilets
eight and you just do the same.
So you just go and select the color
and start build things
that need to be very nice.
And you can move all over the place
with a I mean, no, I'm not going to have
time to say
yes. So you get me Bartons
very boring.
And yeah, you
can see
at the
end of the DVD
and you can put some a.
Ray.
And they have a very low like like
giggling like sound that is very nice,
like three hours tweenies,
they say.
So, I mean, with this Aneela, you really
need to like it because it takes forever.
It is not something that
you like. Yeah.
Look at me. How am I doing this?
No, maybe it works for a while,
but at the end they would be lying
in no way I would
do them will either.
Forget
about what.
So I'm just doing
I don't know what I'm doing but
it wouldn't work. So how
so. No.
Yeah.
Yeah ok.
I know. What the fuck.
So.
Yeah,
uh, yeah,
and of course, it's longer,
so you delete
and and that's it.
Yeah. And of course you can go online,
you can move it
super fast.
Now lay up.
Yes.
So the animation that I showed before is
done with this, so.
Yeah. So it took me a month
because sometimes I have like a very
great thing.
But after.
You play it easy to
do this so it
doesn't move with the cursor and let it
be like others are like, yeah, that's
fucking ugly, sorry,
but yeah, so you can have a video
of how it works.
So and it's just triggers
like everything you do.
And I think maybe it should give you
some questions if you have
to.
Thank you.
So I want to ask something, any questions
for a I mean, that was a pretty amazing
and impressive thing you
might like to say. Wow, thank you.
Any questions?
There's four mikes.
We've got questions.
I repeat it, what's the question?
And you put the graphics the
other way around.
I'm repeating it for the people that are
sorry or the other way around because it
seems so exact.
No, actually it happens
sometimes. So the
the music is built before.
And I just listen to it like in a loop
for a lot.
And I see it on tape and
the finish line with this technique,
this technique, it kind of shoots
everything. It works.
So you just played it and you play the
music is like the synchronized.
Yeah.
So because he's also like
you can not edit.
So it's just like building one row until
memories fall and you
cannot save it longer.
So you have to add a new one.
So are there bands.
I work with some people that made the
music after, but normally I just build
the graphics and animation from
the music and just put it together and
it works is
excellent.
Questionnaire.
Hi, thanks. I'm just wondering, you
mentioned that people sort of like throw
words like retro in there quite loosely
and that there is quite important to
understand the craft and
the hand movements of what you're doing.
I wonder if this has any implications or
if you think there are implications that
what you've learned about doing this has
for other forms of
design and an artwork and
that sort of thing.
Uh,
I think if I understand you correctly.
Well, I mean, the funny thing is
the craft Carnochan after that to
do that, this Lamai man tried to make
me do this on Krapf when I was a kid and
I sailed away.
So so somehow
it kind of saying the greed is just
the use of the same thing alive in
knitting and stitching.
Ladies just agreed and you put Carterton
instead of X, so you just put
all these different ones.
But this kind of everything is
kind of related like you feel
when you're typing. It's more like a
crafting, like just just building
something foreign flavor.
And normally I do it for a scratch.
So there's no like background.
So I just type and improvise.
So I'm kind of like crafty way of doing
it. And if I fuck it up, I have to start
over again.
Did answer your question or
I lost
and just you talk about,
OK.
All right, anybody else for
questions going once, going
twice.
A round of applause for Michaela.
Thank you so much.