When we share our ideas, layers of meaning form to become one product. In the synthesis we hide lots of things: our world perspective, our relationship to others, personal expectations, level of understanding. A shared thought can leave us open to vulnerability. We make the decision to expose ourselves to others, we invite interaction, we are open to be challenged or even rejected, in sharing our ideas we move from a position of strength where we appear knowledgeable, to a position of weakness where we can appear foolish and weird, why? Part of the answer lies in what we achieve. By communicating we do something incredible: we open the gate to what’s inside our head and we invite total strangers inside. through doing so it changes us. Without communication our identity remains unchallenged, our world view in doubt, the who we are and what we stand for untested. The pursuit of Communication through Art and Design, does not just enable us to become more conscientious world citizens, it frees us up to become far more creative and independent individuals.
Jaygo Bloom is an artist, designer, lecturer, early career researcher and performer. His works for galleries, public commissions and the creative design industries often address with irritating awareness the reality we live in, and make explicit the technologies that paradoxically predominate the human condition, examining the effects this has on our collective, personal and spiritual growth.Online Interview 01:
In conversation with Art Critic Mathias Jansson. As part of a series to illustrate the genesis and evolution of a phenomenon that changed the way game-based art is being created, experienced, and discussed today.Online Interview 02:
In conversation for NEoN 2012 Digital Arts Festival. Jaygo Bloom creator of ‘Bombaze’ an indie mobile app developed exclusively for the festival. In this interview we ask how it works, what it does, and what were his motives.Online Interview 03:
Interviewed by the V2 Institute for Unstable Media curator, Michelle Kasprzak. A disscussion for Vague Terrain, on the subjects of live cinema and realtime graphical performance.
Jaygo Bloom. Born Manchester
Glasgow School Of Art. BA Hons. 1996 Leeds Metropolitan University. MFa. 2000 Duncan of Jordanstone College of Art. MSc. 2006
Festival Forte. Portugal. 2016 Digital Potlatch. Coastguard Studio. Portsmouth. July 2015 Lux Natura. Norwich School Crypt. Aug 2015 NEoN Digital Arts Festival. Dundee. 2012 Um Experimental Performance And Intermedia Festival. Dublin. 2011 Arcade. Dundee Contemporary Art Centre. Dundee. 2010 AKA Whack. SWG3 Galleries. Glasgow. 2009 Trunk AV. Oslo. Netherlands. 2008 Birthrites. Manchester Museum. 2008 New Directions In Scottish Digital Culture. CCA. Glasgow. 2008 Birthrites. Glasgow Science Centre. Glasgow. 2007 Rock Electronique. Intermedia Gallery. CCA. Glasgow. 2007 Futureverything. Manchester. UK. 2006 Urban Play. Trampoline. Nottingham. UK. 2006 Dotmov. Sendai MediaTheque. Sapporo. Japan. 2006 Pong Mythos. Computerspiele Museum. Berlin. Germany. 2006 Recontres International. Paris. 2005 The Shadow Cabinet. The Embassy Gallery. Edinburgh. 2005 Slope//. Switchspace. Sorcha Dallas. Glasgow. 2001
Festival Forte. Portugal. 2015 Les Nuits Sonores. Lyon. 2014 Ageha. Tokyo. 2013 ADE. Amsterdam Dance Event. 2013 BLOC Art and Music Festvial. UK 2013 O:.O:.O:. The Dance House. Glasgow 2010 Major Havoc. Voicelab Orchestra. Southbank. London. 2010 Planetary Assault Systems. Mote Evolver Records. Worldwide. 2010/15 Franz Ferdinand. Domino Records. Worldwide. 2009/11 Pixelazo Festival. Bogota / Medellin. Colombia. 2007 Pixelache Festival. Kiasma Museum of Fine Art. Helsinki. Finland. 2005 Machinista Electronic Art Festival. Perm. Russia. 2003
REF 2014. Research Excellence Framework Of Its Time And Of Its Place. M.Murphy. ISBN 978 1 907317 76 7. p 24. 2012 Game Art Contemporary Practitioners. Mathias Jansson. 2011 Vague Terrain. Rise Of The VJ. Michelle Kasprzak. 2009 Liberation. Paris. Marie Lechner. 2008 Audio Visual Art + VJ Culture. D-Fuse. ISBN: 1-85669-490-9. 2007 Shift Japan Vol 121. Japan. 2006 Soda Vol 28. Switzerland. 2005 Exploring The Visual Culture. N.Mullholland. 2005
Heavyweight Dub Plates — Eternal Rotation. Aug 2016
Current project in development.
A reinterperatation of the standing stones of the British Isles, in preparation for an esoteric fuelled night of Audio Visual installation.
First up, Avebury Circle — A little teaser sans sound.
Generative Forte. Aug 2016
An invitation to take the role as lead AV development for Festival Forte. To celebrate the afterglow of Summer. Electronic Music and Art come together in this very unique festival in a Castle in the Sky - Montemor-o-Velho. Live AV sets by Ben Frost/MFO, Cabaret Voltaire, The Normal/Daniel Millar, Silent Servant, Rrose.. Generative artworks and festival playground by Casey Reas AKA Mr Processing and of course, yours truly — gabba.tv
You can find more about the Generative Art experience we have planned HERE
Isadora Werkstatt. July 2016
A week of Intensive computing in Berlins UferStudios, with Mark Coniglio founder of Troikatronix Dance and developer of the incredible interactive computing System - Isadora, and Fubbi Karlsson founder of House of North, all round Banger of FX, famous for his work with Peaches and his insane pulsating pussy pants and laser guided butt plugs.
staying relevant, engaging with changing media, meeting incredible people, exploring new possibilities that exist in-between spaces and the moments of transition.
Technology makes a lot of movement in both directions, it isn’t just linear anymore. I see it as something that is very elastic that loops backwards and forwards. Messing about on the boundary between the digital and the physical as I do, moving stuff from the digital into the physical, I realise that I am doing this to understand what happens in the other direction, because most of the traffic is in the other direction. By playing about with boundaries I can start to invent new patterns.
Both Fubbi and Mark know this, and with their practice and concepts lead others to use familiar tools in extra-ordinary ways and through the week of workshops to a greater understanding of the magical glue ‘Isadora’ that brings it all together.
Broken Hearted Dragonflies. July 2016
AV Performance. Digital Potlatch. Coastguard Studios. Portsmouth July 2016.
There is a legend in Burma stating that swarms of male dragonflies gather to join in choruses of high-pitched tones to court their mates. The ones that don't succeed in mating eventually scream so loud that their chests explode and they drop dead to the ground.
Broken Hearted Dragonflies, will be performed live to produce a changing, fluctutating color field, mimicing biological systems, representative of the final moments of a dragonflies mating call. Accompanied by a modulating, frequency rich soundscape. Exploring the intricate relationship common to all living creatures, a frenetic, fluctuating state that exists between the binaries, between living and dying, explored through synthesis and abstraction.
'Inspire' HEA Conference. Brighton. March 2016
Sharing often arises unhurriedly out of common interests and mutual approaches to practice and it is up to us as its active agents to encourage the sharing of knowledge at every opportunity..
More info about the project and workshop HERE
Music Video Direction. Sept 2015
'Collide' is now public. Latest track from the rock band 'Secret From Richard'.
'Paradise Found'. Commercial Project, South Place Hotel. EC2. London. July 2015
Capitalising on the Hotel’s close proximity to poet Milton’s birthplace, design partner Matteo Alabiso and I, set about redesigning the Hotels vast reception area. Loosely based around ‘Paradise Lost’ Milton's epic poem, the display portrayed the poems most powerful theme: That of the fall of Man from the garden of Eden.
Read more about it HERE
Graphic Art development. May 2015
Mapped graphical 3D structures incorporating CNC fabrication, projected light, colour and false shadow.
Avesbury Circle. April 2015
In the process of a photogrammetry image mapping activity. Isolating the standing stones of Avesbury Circle, to be projected into 3D ambient space.
See these monoliths in premanent dub rotation very soon.
Hidden in Plain Sight. Norwich University of Art Staff Show. Jan 2015
'2.1.0' A digital echo of Kazimir Malevichs ‘Black Square’,1913.
Video Projection. 695mm x 695mm square. Scale 1:1
A double negative. At first a void or nothingness, yet this nothingness is also plenum, as out of this nothingness the full panolpy of manifestation arises.
Paradoxically the void contains the seed of all, and gives rise to the formula 2.1.0. Put simply, apparent diversity is symbolised as two, springing from and being equivalent to zero.
2.1.0 is a further refinement, showing the reduction of the two to the one, and then to zero.
In Progress. Jan 2015
Cadence in plainsong.
Open Studios and a new sound installation. Jan 2015
'Artificial Organics'. Stirling board. Fake Fauna. 5 Channel Audio.
01 Channel. The huge wind turbines outside Goonhilly. Cornwall. The transformer generates a 60 cycle per second hum. The official sound of the National Grid. The sound of electricity, the soundtrack to our lives.
02 Channel. Late spring and the call of the nightingale recorded on the longest day of the year in Estonia.
03 Channel. A very hot summers night in Chaillac, France. The air otherwise filled with the sound of crickets and the clicking of the electric sheep fences.
04 Channel. Chelsea a couple of years ago. A sound at night, at first I thought it was a road sweeper operating a few streets away, it was annoying and mysterious. I was continually looking out of the window trying to see what it was.
05 Channel. A noisy dusty place situated at the port of Antwerp. While the silo is discharging the metal walls vibrate with a frequency that sounds throughout the vast grain chambers.
Inspiration for me always begins with a backward leap and reaches far into the future. When responding to an already existing work of art and recreating this within physical space or incorporating this into a different medium, we begin to design the future.
In the following work I was interested in exploring how works from the canon of fine art practice can translate into alternative media, drawn to experimenting with different disciplines and methodologies that attempt to blur the boundaries of analog and digital media, and which help me to deal more effectively with binaries outside of the binary.
Triple A (Ode to Stella)
Triple A (Ode to Stella)
Triple A (Ode to Stella)
Triple A (Ode to Stella)
Triple A is a four channel projection mapped structure whose title makes direct reference to the aesthetic sensibility of early american abstract artists (AAA). Triple A deals with the concepts of projective colour as an image modelled by colour and not by shadow and with the ability to inflate without shadow as it explores multiple illusions - depicting surface / recession / projection. These were all concerns of the artists of the time, and I think can be adequately adapted to fit the aesthetics and terms in relation to the projection of light and colour within a gallery environment today, where the spectacle of viewing is exhalted.
Victory over the Sun is in direct reference to a 1913 Cubo-Futurist opera of the same name, whose set was designed by the Russian painter Kasimir Malevich. In the original 'Victory Over the Sun', the sun, representative of a decadent past, is torn down from the sky, locked in a concrete box, and given a funeral by the Strong Men of the Future. 'Victory Over the Sun' declares a rejection over nature, over the natural. Of symbolically 'Killing the Sun'. In this new adaptation the plinth becomes the concrete coffin and the ball becomes the sun. the repetition and the act of continual motion within the video works calls to order the need to continually question and asses the aesthetics by which we are informed and with which we create art.
Victory over the sun
Victory over the sun
Victory over the sun
Victory over the sun
Luxnatura is the salvational radiance that can be found in the organic kingdom. This has slipped from the grid of modern being, except in exceptional cases where it is cultivated as a sensibility or pursed in the guise of an aspect of psychedelic experience.
As artists our point of view is actually gaining ground, 95 percent of this is most likely just intellectual noise and ethics that attempt to coin the perfect analogy, nevertheless there is the remaining 5 percent that is at the cutting edge of the driving image of this meta-culture. What this remaining 5 percent share is the importance they place on the role of nature. For some this results in the recognition of the presence of control mechanisms, using art as a way of coming to terms with the nature that we have resisted.
single channel looped HD Video
Art for me is never about a finished thing, but more a state of transition moving from something which was fairly formed into something which is now more unformed. This is time based art at its most accurate, Focaults pendulum, a puncture in time, a full stop, a continual cycle. Its name has been adopted from that of the serpent 'Ouroboros', that which forever entwines, devouring itself.
What I find interesting in repetition is that it can lead to a sense of self forgetting, to states of trance and at the same time, it is precisely repetition that serves as our primary learning tool. Loop usage is closely linked to our use of short time memory, our experience of the present lasts only about three to five seconds, by knowing what has passed and anticipating what is to come, working inside the loop transfers us into a state of continual NOW. (e.g. B.Nauman 'stomping around the studio' '68).
O:.O:.O:. comprises of a video triptych of choreographed scenes based on the composition of an original Alexander Calder painting, through which the static body strikes poses and holds forms referenced within the painting.
The artist Alexander Calder helped free sculpture from its static position sometime around the early 1930s. Taking inspiration from dance, he began creating suspended kinetic sculpture - dubbed 'mobiles' by Marcel Duchamp. With this video work I was interested in reversing the concept. Rather than using the dancers movements in motion, I chose to replace the structure back onto the movements of the dancers, imposed as in a modernist structure or grid.
‘Major Havoc’ was the result of a Paul Hamlyn commission for the City of London, supporting a period of research and development alongside the London Southbank VoiceLab Orchestra. The final work composed of a series of cinematic narratives, incorporating scores based on three classic arcade game instrumentals. Performances by members of the orchestra were recorded and presented for arcade console game play. The artwork is underpinned by an examination of the broken narrative, live cinema and digital transformation.
I believe the flow of time cannot be understood without interruption, or function without 'glitching'. Attempts to visualize this break of flow generates a void that forces the audience to become aware of new patterns, anti-patterns and new possibilities that exist in-between spaces and in-between moments of transition.
According to the artists diary, throughout the 1950s Josef Albers had created the works in his ‘Homage to the Square’ series in sizes of up to 40 x 40 inches but in 1962 that all changed. When asked by a leading critic on a visit to his Connecticut studio, ‘Professor Albers, in 1962 you suddenly began to work in the size of 48 x 48, and I wondered if this was your reaction as a European to the vaster scale of life in America or in fact to the American attempt to conquer space and reach larger dimensions?’ Albers looked at the critic stared intently, and said ‘young man, that was the year we got a bigger station wagon.’
I really liked the humour in this, how happenstance within the production of art can often be misread as something far more important than it actually is. I thought this would be a excellent entry point for a work of art in homage to Mr Albers.
In 2003 a few friends and I founded a collective, we rented out a dilapidated, old warehouse and appropriately named it ’The Chateau’. We used this as a studio space, and from it hosted art shows and events, drawing upon the artistic talents that came to the city via the art school. The top floor was rented out by an edgy, four piece art rock band, they played at our events, held parties and then literally, overnight became the phenomenon that is the ‘Franz Ferdinand’. So I started making their tour visuals, at first for the back rooms of pubs, and then as they got more well known, for bigger venues like the legendary ‘Heaven’ Nightclub in London and the Brixton Academy, it was 2009 when they asked me if I could develop and produce a series of super wide visuals to accompany their World Tour..
As a visualist, I honed in my skills at Glasgow’s seriously glitchy, dark and dirty electro club night — 'Death Disco’.
Each month we would invite remarkable individuals, spotted within the club to a private party in our studios, convincing them to perform fleetingly, suprisingly and often beautifully to our cameras. This we would craft into the publicity and the live club visuals. It was hugely successful, and we rolled this concept out for over two years bagging a top award for the best marketing strategy at the Scottish Award Events.
Aside from my creative industry activites and independent art and design practice, I also develop visual content and devise innovative approaches to event projection mapping and multi screen set up in the perfromance of realtime graphical processes for the seminal British Techno act, Planetary Assault Systems.
How to make digital encounters more familiar, more understandable, more approachable? How to lead an audience to investigate and bridge the digital and the public, the bio and the techno? Anything that humanises a digital experience in someway familiarises that experience as well and this is what I intended with the worldwidewegg.
The worldwidewegg was created for the show New Directions in Scottish Digital Culture. Connected via the internet a breakfast bar situated at the Centre for Contemporary Arts in Glasgow with the frenetic activities of two farmyard hens some 60 miles away. Two activities immediately familiar, but remote from one another.
An egg gets laid on the farm and returns to the gallery, free toast via the web enabled toaster. Each peck by the hens on a tin full of feed and sensors, pushes the peck controlled itunes playlist forward a track.
Not only that. The same egg online generated a random number, six numbers purchased an online lottery ticket, in effect repaying a proportion of the grant received, back to the Art Council and with any luck making me a millionaire... Did it happen?
Did it CLUCK
Familiar activities bring about extraordinary results. Marrakattak was created out of a set of hacked marracas. It was an latino based, percussive audiovisual instrument, created for the Pixelazo Electronic Arts festival in Medillin. Colombia. The people of Cummuna 13 were encouraged to play this as an instrument and at the same time remix Aztec, Zapotec and Mayan imagery alongside 8bit sounds and footage from my Colombian road trip.
Marrakattak was designed to create digital encounters for indigenous Colombian communities. Here was an instrument the community all knew so well, but with an entirely different outcome, one fused with a glitchy, Western sensibility.An unforgettable six weeks of workshops and performances alongside Pointless Creations in the lush rainforests, sharing skills and knowledge with the people of Colombia.
Why? because its good for you!
Involving your audience means bringing about a starting point for conversation with communities.
Theres a phrase that gets bounced around the periphery of the design world a lot, and thats DIWO or ‘do it with others’. DIWO reminds us to continually contribute and collaborate with one other. It also reminds us that through embracing social engagement within our practice, through involving others in the process, that our projects become more relevant to those it wants to address.
'Whack' solo show. SWG3 Galleries. Glasgow.
A disastrous cocktail of intrusive entertainments, locative media, AV participation systems and modified games consoles, for public participation and un/participation. Projects included 'WHACK' Karaoke, and the global grooves games console 'The Apocalypstick'.
Sam from Casual Sex
The creative output for the exhibition and national Arts collection ‘Birthrites’ resulted in the digital media artwork ‘Zapp You’re Pregnant’, a series of video-mapped, poetic narratives with an interactive element.
In residency alongside the Senior Vice President of the Royal College of Gynecology, Dr Jim Dornan. I observed obstetric procedures, prenatal screenings and caesarean sections, charting through creative work the practice and politics of childbirth. Research led to an interest in the digital and technological interventions evident within the Maternity Ward, examining the role and reliance of technology within contemporary birthing procedures. The artwork demonstrates an alternative view of the birthing process; one which paradoxically is driven by technology, but also exposes the lucid and rintensified emotional states of the expectant mothers I met.
Concern over the conceptual consequences of living in such close proximity to technology holds a significant enquiry with my practice, with initial enquiries firmly established in work developed in 2005 for the Manchester Futuresonic Festival and later revisited in the digital media artwork ‘Worldwidewegg’.
My research in this field is ongoing and I often combine a trans-disciplinary approach to creative practice, incorporating performance, creative technologies, tactile media and social space as tools that help bridge online and offline activity.
Research for the visual component of 'Zapp You're Pregnant' explored the entropic disorder associated with alchemical and scientific motif, drawing comparisons with ancient notions of rebirth and transformation.
Urban spaces will soon be saturated with both visible and hidden technologies that gather and transmit data. How we connect with, interpret and shape this data within our environment will be a significant challenge. This project seeks to explore where the online and offline world connects or disconnects by focussing on interactions with everyday communities and the small ideas that underpin the ‘big questions’ that all too often overwhelm researchers.
‘Bombaze’, is a 17th Century Scottish term for bamboozle. First coined by the Bard Allan Ramsay in his poem 'The Gentle Shepherd'.
‘Then, aft by night bombaze hare-hearled fools.
By tumbling down their cupboard, chairs and stools,
Whate'er's in spells, or if there witches be.
Such whimsies seem the most absurd to me’.
I took this whimsical 17th Century perception of bamboozled Scots life after night as the basis for the development of an event based playful encounter, accessible via a mobile app.
Commissioned for the NEoN Digital Arts Festival. This started off originally as an engaging way for festival goers to investigate and interact with a series of augmented artworks placed around the city of Dundee, bringing artwork out of the gallery and into the public, accessible to all.
For me, this became an enquiry into the relevance and virtues of Digital Media Art placement within unsuspecting communities. Raising more questions than answers:
An interview on the project development is available ONLINE HERE
In this interview NEoN 2012 Digital Arts Festival asks how it works, what it does and what were the motives?
The pursuit of finding the complete set of Bombaze digital artworks was supported by a printed event based map, handed out at the festival hub and downloadable from online. Clues were embed within the map and linked with the physical environment, creating a playful way for participants to uncover the past and look forward towards future Digital histories of Dundee.
Woooc is a celebration of the collective. It is about sharing knowledge with colleagues, with students, between departments and across disciplines. The sharing of knowledge is a shared dialogue and that is fundamental to supporting learning. We can all learn from other peoples experiences and through collaboration we can achieve bigger things.
What follows is a short commentary on collaboration, that I recently presented at Central Saint Martins for the Communication Design Course Director Rebecca Wright.
Trust your instinct, never teach students not to trust, teach them to be brave enough to explore. Many students I come in contact with feel under pressure to prioritise skills and enhance employability above all else. However its important that lecturers and subject leaders help carve out a learning space protected from job prospects, where they can take chances, be encouraged to explore and experience what it is like to be a learner, be a researcher. but then also to have a duty not to neglect their career goals either.
Never stop looking, never stop sharing. As a teacher this means constantly looking at and coming up with alternative models for contributing to the delivery of design education practice. I look at the models coming out of Design departments such as ECAL, Basel school of Design, Eindhoven and Stuttgart. We are all working from the same blueprint and through our commitment to education we are all connected and all helping to build a better creative economy.
Make friends not contacts. Make true networks and meaningful relationships. Friendships always arise unhurriedly out of common interests and mutual approaches to practice. It was Bruce Mau who said 'Massive Change is not about the world of design; it’s about the design of the world.’ All the meaningful partnerships I have made believe in this potential for Design to bring about world change.
Listen. I believe the goal of good design is not to create good image but to communicate and to communicate you need to connect, and to connect you need to listen. We have to remember who we are working for and people are at the centre of it all, As creatives we have the capability to weave our designs seamlessly into the fabric of contemporary life, learning to listen and learning how to create shared narratives that bridge social space can help transform any campaign or any brand into a story and the people listening into it’s storytellers.
Understand the other side. Understand what the other side wants. Support students to navigate education, the industry, an audience, a career. As a lecturer this means examining future forms of education and bringing design education and the creative industries into closer partnerships. Learning ‘with’ not ‘from’, not replicating industry but instead supporting a platform where new forms of design education partnerships can happen, preparing our students to benefit from the industry they will one day inhabit. I see this as ‘a multiple stakeholder situation’. In which our department and students become an intermediary between community and business enterprise.
Be interested rather than interesting. I work this way because I love my job, it's much bigger than just getting the job done - its my life. I teach what I know and what I believe in. I embrace who I am and what I do best. Through embracing my passion within the studio it strengthens my practice and inspires in others. Teaching this way the world grows infinitely more enjoyable for myself and for my students, and because of this my professional practice, my teaching and my learning become an inclusive experience.
Embrace the next generation. Stay relevant and stay in touch. For me this means seeking out the opinions of students to help shape and change the face of design education. It also means learning from those that are ahead. Tony brooks from spin visited our department recently and told our graduates keen to get a place in the industry, that they need to have great type, great layout, great ideas, but if they come with code skills too then they are in straight away. Approaches to design which include creative coding and realtime graphical processes are very seductive to employers right now and this is something which we all must support.
Do it with others. Share your knowledge between departments, across disciplines, learn from these experiences, collaboration can achieve great things. DIWO is a term that started in the hands of indie magazine makers. I use the term here to draw attention to the need for designers to contribute and collaborate with others. I agree with Paula Scher, whilst speaking at Londons AGI conference she said, 'Design is social. Art is personal.' This suggests that through involving others in the design process, our projects can become more informed and more relevant to those it wishes to address.
Make it simpler but not simple. Make sure people understand what it is you are saying. As a student, as much as it is for a designer it is important to work from inside a familiar territory. When presenting an edited narrative to a client or for student assessment this means learning what not to say as much as what to say. Look out for what makes that winning formula and tease it into new forms.
Get Connected, then get unconnected, then get connected again. Something radical has happened, a few years ago everything became connected. and now everything in today’s world is about connectivity and it’s the incorporation of connectivity through design, through social media and social space, through participation and interaction that is fundamental to our ability to create, connect and deliver unforgettable experiences. And I would say its not even necessarily working towards finished outcomes that is the answer, but its the desire to connect through narrative, the joy of storytelling, the sharing of ideas and the process by which we arrive at a connection that is the most exciting to the world of Design right now.