1996/1997

Fourth year OCAD, pioneered the Jawa method. A straight cut a/v editing style with strict use of scavenged video source with its sound intact. Violence and immediacy combined with spectacle were primary. Precise micro edits thanks to the invention of non-linear digital editing. The cutup dictated the rhythmic result. The technique is picked up and credited by many peers including Jubal Brown and Leslie Peters. Scratch and Pummel are acquired by the National Gallery of Canada.

Jawa explained

1999/2000

After graduating, scavenging was essential. Computing power was too weak for full quality home editing. Glitch, ASCII text art, and circuit bending experiments were manageable alternatives which could be layered. The Atari 2600 remixes tested the primitive limits of straight cut glitch editing. Collaboration with Leslie Peters explores analog vs digital glitch.

2001

Improvements in home editing allow a return to sampling video footage. Satire of spectacle focused on totalitarianism and media hysteria. All edits are still limited to single layer straight cut. Extensive collaboration and co-exhibition with Jubal Brown leads to competitive improvements and experiments in editing.

2002

Applying a structured frame count using multiples of four allows for more complex editing with layered combinations. Jawa edits start to take on stronger musical quality. Sensational pop and media imagery are heavily scavenged. The Self-deprecating Basement Boy Hardcore series begins coinciding with the rise of the Breakcore music genre. FAMEFAME media arts collective is co-founded with long time collaborator Jubal Brown and is joined by Elenore Chesnutt and Josh Avery.

FAMEFAME manifesto

The Basement Boy Hardcore series ends resulting in a DVD video album. An experimental concept which was extremely rare which attempted to sell video collage alongside music in stores. Jawa is shared through festival competitions like Attack of the Clones. Artists are invited to edit using only The Sixth Day as source. The power of the edit as gesture becomes the prime focus.

On the nature of the Basement Boy, Elenore Chesnutt

2003/2004

2005/2006

To advance awareness of Jawa, international competition and outreach is launched by our collective FAMEFAME in the form of an annual a/v tournament called Videodrome. In Toronto, it's hosted at The Museum of Contemporary Canadian Art. Abroad, the works are exhibited in Paris, London, Syracuse, and Tokyo. Shadowplay, my jawa video essay summarizes a decade of my perspectives on video. Read curator, Clara Hargittay's commentary below.

Tasman Richardson’s Shadowplay: A Consideration, Clara Hargittay

2007

Extended sets of Jawa are produced for limited engagement, many underground breakcore events and the ongoing international competition Videodrome. Kitch and spectacle temporarily dominate content but eventually an interest in simulation and image distrust takes over.

2009-2012

Jawa edits are applied to a stop motion experiment to compose in space/time with depth and physical animation. Feedback experiments are made audible by splitting rca cables and mis-feeding them into audio channels. Earthcam surveillance is co-opted to give omnipresent perspectives in real-time. Collapsing CRT screens are captured with induction sound and the first live jawa performance is attempted with MIDI triggering the source video clips in real-time. I curate the first abstract live video event titled The New Flesh featuring artists from Australia, France, Belgium, and Canada.

2012 Necropolis

The concepts first explored in the video essay Shadowplay (2006) are advanced and transformed into physical space, Necropolis. A two-thousand square foot installation with six media spaces, each requiring the audience to step into and experience the theory, effectively breaking the screen and reflecting on the elemental characteristics of video. Housed first in The Museum of Contemporary Canadian Art in Toronto, and then Karsh-Masson in Ottawa. Full catalogues below. For the closing event in Ottawa, ArtEngine Artistic Director Ryan Stec proposed video is dead. Listen to the debate and decide for yourself.

MOCCA Catalogue, Tasman Richardson, Director David Liss, Curator Rhonda Corvese

Karsh-Masson Catalogue, Tasman Richardson, Artistic Director Ryan Stec

ArtEngine debate

2013

Custom made electronics assist in converting MIDI note values into electrical current. The results are performed live as a collaboration with Paris based Nohista (Bruno Ribeiro). Collaboration with Edmund Law (chief installer for Necropolis) to make mounted mirrors that alternate as video Rorschach displays. A religious and brand images are collected for a live Jawa performance, video replaces the band/priest presence (initially in collaboration with Rko of Vatak Paris).

2014 Lethe Baptism

Human memory, the ultimate recording format, becomes the focus. Images of media theory pioneers, large laugh track audiences, and fanatical fans. Each is recorded and re-recorded on vhs. The decay and eventual erasure are documented. The animation is converted to physical lenticular prints, which change depending on where you stand, moving from left to right. A separate video plays behind a blue curtain (the colour of video memory loss). A video with the sound separated. with each viewing, you try to remember what sounds go with what images, each time, the imperfect mechanics of memory are revealed and reinforced.

2015/2016

A return to print using single, rapid, hand gestures, multiplied and mirrored. Experiments with minimum line widths in inkjet, and hand pulled silk screen printing. Collection of video sources related to memory and recording formats are repurposed as instruments for two seperate live Jawa performances.