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PUBLIC MARKS from ainos with tag ascii

08 March 2012


The opening event of The International Teletext Art Festival ITAF 8th March 6pm - 9pm at XL Art Space (Vuorikatu 22 00100 Helsinki) Program: Teletext art and music (music provided by BMTD63) + Guest star Yrjänä Sauros! Inspired with the 30st anniversary of Teletext in Finland FixCcooperative ( has produced a International Teletext Art Festival in collaboration with YLE. The artworks are shown on the YLE Teletext pages 525-545 from 8th March to 8th Aprill.

02 March 2012

Art out that fucker / MS YAYA

27 February 2012


Ask the whale about typewriters, teletext, bbs menus, etc


2SLEEP1 is a playlist of audiovisual performances in text mode, designed to make you fall asleep. The idea is to show the music being composed in real-time (Exedub) along with typewriter-style animations (e.g. Sjöman). Both the music interface and the graphics are built up from text symbols. This means that the (graphical) objects can work together with the (musical) instructions, on a visual level. Vank is a first rough test of this and Matsamöt makes a similar thing, without the improvisation. Finally, Echidna is a silent movie with semi-live music. Made by Raquel Meyers and Goto80 (me), mostly using c-64 and Amiga. The videos are early explorations of new methods, so it’s rather brutal at times. Greetz to Poison (rip) and Toplap! Made by Raquel Meyers and Goto80

24 February 2012

SKIN - Pavilion of Knowledge

P-06 atelier, Lisbon, Lisbon, Portugal, 2010 Description Project brief: An environmental design project developed in partnership with the architect João Luís Carrilho da Graça for a multipurpose room: the foyer of the Pavilion of Knowledge, a science museum in Lisbon. The intention, due to the versatility of space, was to create a texture for a perforated wall with acoustic and lightning purposes. Approach: The theme, ASCII, is analogous to the museum’s intentions of sharing information. By creating different texture densities with bigger or smaller cuts, acoustic percentages and the openings in the window areas of the rear rooms were controlled. LED white lightning between the wall and the “skin” was balanced with natural light.

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