Leap Second Festival 2016


Leap Second Festival 2016
– “Just a sec” – an untimely intervention


Saturday New Year’s Eve Dec 31 2016 23:59:60 and lasts one second until Jan 1 2017 00:00:00 (UTC).
Check what UTC (Coordinated Universal Time) is at your location: https://www.timeanddate.com/time/leapseconds.html
Check when the leap second happens at your location to make sure you don’t miss it: https://time.is/leapsecond/

During the leap second all the works in the festival are exhibited, executed, performed.
This year we’ve emphasized collaborative, experimental, project-based works that in various ways embed the leap second idea and function as leap second events in themselves.

The festival is a distributed, decentralized event coordinated on the net.
There are around 140 participants in the festival, including the residency program.

&(Barbora Trnková & Tomáš Javurek), Agam Andreas, anonymous74, Dan Arenzon, William Bain, Domenico Dom Barra, Dennis De Bel, Diego Bernaschina, Sissel Berntsen, Browserbased group, Igor and Ivan Buharov, Christian Bøen, jonCates, Anna Chatziioannidi, Nick Collins, Martin Conrads, det0une (Edoardo Gaudieri), Dim Dx [Dmitry], Eros Dibra, g_host, Cleber Gazana, Emilie Gervais, Kyriaki Goni, GrandLapin, Gottfried Haider, Samantha Harvey, Erik Hesby, Isaac Andrés Espinoza Hidrobo, Tibor Horváth, iEstupor, INTERLICHTSPIELHAUS, Jan-M. Iversen, iwbdjdyatmvezdmnekzawvb, Timo Kahlen, Martin Kleppe, Jan Robert Leegte, Dimitris Leontzakos, Patrick Lichty, Robert B. Lisek, Anita Lugomer, Riccardo Mantelli and Sara Savini, Sherwin Altarez Mapanoo, Konstantina Mavridou, Microfost, Ortensio Lando, Lorna Mills , Laura Netzzz, Maia Nichols, Anne Niemetz, Pancrazio Leonardo de Padova, Simon Perathoner, Klaus Pinter, Dominik Podsiadly, PolakVan Bekkum, Miriam Poletti, Frère Reinert, Michael Ridge, Stefan Riebel, Nigel Roberts, Bence Rohánszky, Natallia Sakalova, Giovanni Salice, Vijay Kumar Sappatti, Alan Sondheim, Shivkumar K V, Filippo Tassinari, Sacha Toncovic, Andrew Topel, Juergen Trautwein, Jules Varnedoe, Matt Vogel, Thomas Wernberg, Joonas Westerlund, Alexis Williams, William Wolfgang Wunderbar, Pawel Wocial & Kamila Tuszynska.

One Second Residency Program:
Artists: Jordan Topiel Paul, Douglas Repetto, Joseph Moore, Maja kalogera, Nina Sobell, Micheál O’Connell, Bartis Noémi, Krishan Mistry, h/ lev, Jak Bobby, Denise kehoe, Erica Mena, Dirk Vekemans, Nhawfal Juma’at, ronnie s, Heike Endemann, Bron Belcher, didem erk, Jessica Earle, judithS bauer, Faith Wilson, Victor Matthew Ablorh, Daniel Giordano, marcela jardon, Filippo Tassinari, Rodrigo Arenas-Carter, Mattias Hellberg, Tamsin I Irwin, Wei Hsinyen, Okwei Odili, Nathan Markham, Alex Ness, Jedrzej Cichosz, Patrick Lichty, maia nichols, Igor and Ivan Buharov, Sara P, Eylul Dogruel, hizzy, The Best (Najbolja), Ramon Bonilla.
Residencies: CeRCCa, China Residencies, Art in Motion – Imagine Residency, nonesuch @main & Station leap second residency, Ayatana Artistic Research Program, King Island Arts & Cultural Centre Chris Green, Y, ARTErra rural artistic residencie (Portugal), Drunken Boat One-Second Residency, The Only Real Time Based Net Art Girl Adspace Residency, Laboratory, Wave Farm Residency Program, Nonesuch Paper, Gushul Residency Program, R.A.R.O, redpoint, OPEN A.i.R., Sklad Air, North & Found, Neptune Base Station, Perfect Users, the icing room, https://www.PerfectUsersCollective.tumblr.com

Art, new technology and precarity raise some issues which the leap second can exemplify and realize.
The leap second adjustment is a consequence of technology, practically immaterial, virtual, untimely – outside of time so to say – awkward, unsuitable and is a glitch or a wobble on global scale in earth’s rotation and in electronic time systems (OSs). In the same way, the festival is scalable from extremely big to extremely small, somehow mirroring the extension of technology. It’s also a metaphor for the precarity caused by technology. And it’s questioning its own existence: A leap second is an extra second between :59 and :00 that is left invisible on our watches and most computer systems. It’s usually faked using one of three glitchy processes – repeat, freeze, smear – to adjust clock-time. And finally. with its awkward, impossible format, the focus of the festival could very well be exactly that: a questioning of art and its appearance, materiality, objecthood, to tie onto traditions of conceptual and postconceptual art, net art, ao. and lead to an exploration of media in search of itself (as an ‘appearing’ form, or questioning its form). A festival or non-event like this could bring these questions to the front as its main character or theme.


Leap Second Net- & Codework
URL: http://noemata.net/leapsec27/code/
Description: Works dealing with networks, code, interactivity and real-time processes related to the leap second. Highly recommended!

One Second Film Festival
URL: http://noemata.net/leapsec27/ff/
Description: A show with one second moving images works.

Songs for the Leap Second
URL: http://noemata.net/leapsec27/songs/
Description: A soundtrack album for the leap second. 29 Songs and audio-works made, adapted, or remixed to fit the leap second event in various ways – repeat, freeze, smear!

Radio Patapoe Broadcast
The radio will have a dedicated broadcast of the album “Songs for the Leap Second” during the festival.
Schedule: Dec 31 2016 23:59:60 to Jan 1 2017 00:56:00 (UTC – Universal Coordinated Time), which equals: Jan 1 2017  00:59:60 to 01:56:00 (CET – Central European Time).
URL: http://radiopatapoe.nl:8000/leapsecond.m3u

One Second Residency Program
URL: http://leapsecond.date
Description:  A dating service between artists and art residencies that lasts one second. 19 institutions have provided residencies to 41 artists for the leap second!

Happy leap second! And (after that) new year!

–Leap Second Festival Team

URL: http://leapsecond.online/

Katerina Gkoutziouli for advice, Igor Buharov and Tibor Horvath for conversations about LSF, and Karina Palosi for the flyer.
The same thanks also goes to Ana Buigues for discussions, encouragement, and El-Estudio gallery space, Tom Klev for advice, and Arts Council Norway/Visual Arts for funds.

The festival is organized by
Ars Publica/noemata http://www.noemata.net (Bjørn Magnhildøen).
Browserbased Group http://www.browserbased.org (Zsolt Mesterhazy and Radovan Misovic).
Contact: leapsec@noemata.net / iheartmyart@browserbased.org
Follow: https://twitter.com/leapsecfest


One Second Artist Residency


Open call for residencies and artists.

Register at http://leapsecond.date
Or contact leapsec@noemata.net

Submission deadline: 24.12.2016

We'd like to invite you to this virtual flash residency program taking
place at the Leap Second Festival. The program is an art project in itself
and obviously doesn't require much resources from neither residencies
norartists (no money or physical space is necessarily involved), only
an interest in exploring the concept of 'residency' in an art and
technology setting in creative ways. For instance, using networking
tools an artist can communicate in real time with a residency during
the leap second residency period, for instance, checking how the
residency web server implements the leap second! Which amounts to the
same as an artist asking "Does this residency I have really exist?".
For this reason we might then even go as far as consider the inclusion
of non-collaborative (or non-existing) residencies (and the artist as a
one second squatter/hacker). If this sounds interesting to you either as
artist or artist residency, we'd be glad to include you in the program!

This is a dating service between artists and art residencies that last
one second. All residencies take place at leap second on New Year's Eve
Dec 31 2016 23:59:60 UTC and last until Jan 1 2017 00:00:00 UTC.
Notice that despite lasting only one second the residencies span over
two years (2016-2017).

A leap second is an extra second between :59 and :00 that is left
invisible on our watches and most computer systems. It's usually faked
using three glitchy processes - repeat, freeze, smear - to correctly
adjust clock-time to the rotation of the earth. For us it means an
opportunity to intervene in the flow of time creating a synapse for new

How does this artist-residency dating service work?
An artist applies for a residency and is automatically matched to an
available one (if possible). Or an art residency registers and is
automatically matched to an available artist (if possible).

What can be done during a one second virtual flash residency?
Even though the time is short, a computer handles billions of operations
during one second. Real communication is possible using for instance
networking tools. This project also poses a question what a 'residency'
or a 'date' means in terms of the virtual networks we live and work in.

About the Leap Second Festival
The Leap Second Festival is a distributed, decentralized event for art,
technology and precarity, coordinated on the net. This is the third
festival in the series. The festival is held on leap seconds announced by
IERS (International Earth Rotation and Reference Systems Service). The
previous festivals in 2015 and 2012 saw more than 100 works worldwide, from
split-second videos, audio and musical works, to conceptual- and
instructional art, network- and time specific performances, and sculpture.
The festivals have support from the Arts Council Norway.

One Second Artist Residency
Open call for residencies and artists

Register at http://leapsecond.date
Or contact leapsec@noemata.net

Submission deadline: 24.12.2016

Songs for the Leap Second


Open call for music and audio-works.

Formats: Sound: mp3, ogg. Image: jpeg, png, gif.

Submission deadline: 24.12.2016

Contact info: leapsec@noemata.net

We're compilating a soundtrack album for the leap second - songs and
audio-works made/adapted/remixed to fit the leap second event. We're
interested in material that in one way or another incorporate the leap
second format of one second, or technology or ideas related to it.
Specifically we're looking for:
  • Remixes of (mainstream) songs so that they contain an extra second.
    This extra second can be mixed into the song with one of three methods:
    repeat, freeze, smear. Each of these methods mirror how the leap second
    is handled by common time devices (clocks, computer systems) – ‘repeat’
    means the :59 second is repeated (to make up for the extra leap second.
    UNIX systems implement this method); ‘freeze’ means that the :59 second
    is frozen for an extra second; ‘smear’ means the leap second is smeared
    out over a larger period to avoid problems inserting the leap second (to
    my knowledge Google implements this method in their system). As this
    album will have a dedicated radio broadcast during the festival we want
    these radio songs to be one second longer than usual to fit the event –
    we want the songs to reflect that they’re being played through a leap
    second. Practically, to remix a song one second longer with a repeat,
    freeze, or smear technique could amount to different sorts of glitch
    editing of the original material.
  • Secondly, we’re interested in original audio-works that relates to
    the leap second. Glitch and noise material is relevant to the leap
    second as an intervention in time, and as a result of the earth’s
    wobbling and noise in its spinning around the sun.
  • We’re also interested in more conceptual works related to sound and
    time, or works in other media that refers to it. These works will be
    included in the compilation as seen fit (for instance image,
    description, and/or reference).

    We’re eager to hear any output and to include it in the compilation!

    There’s another aspect of the leap second in relation to songs that I
    want to emphasize:

  • The effect of adding an extra second to a song is to tilt it out of
    rythm, into an off-beat, syncopated or altered perception. This can be
    done by way of remixing or by creating original audio-works. The
    background for this idea is that 1) I had the chance to see some clocks
    showing the leap second, :60, on their display. When watching, it seemed
    the extra second had a kind of syncopating effect, as if you were thrust
    out of the rythm of time – the 00, 01, 02, … they felt displaced.
    2) I’ve always found it interesting when I managed to get into a rythm
    of a song on the wrong beat, because then the whole perception of the
    song changes – its melodies and lines seem different, it seemed to be
    another song! It’s rather hard to keep yourself at this off-beat
    perception – very quickly you slide into the main rythm again… These
    are perceptional events that could relate to the leap second as a
    yncopator, a small unhinging out of the rythm of time, out of count.

    If you find this interesting, we’d be very pleased to receive your
    contribution to the album. Contact info: leapsec@noemata.net


Leap Second Festival 2016: “JUST A SEC…” – AN UNTIMELY INTERVENTION



Leap Second Festival 2016

Open call: Projects and works lasting one second or less.

Submission deadline: 24.12.2016

Contact info: leapsec@noemata.net

The festival takes place New Year's Eve, 31th December 2016 23:59:60 UTC on
the extra leap second squeezed in between 2016 and 2017. During this second
all the projects and works will be exhibited, performed, and executed.


For the 2016 festival we are looking for works that emphasize a
collaborative, experimental, project-based approach that in various ways
embed the leap second idea and function as events in themselves. With its
awkward and impossible format, the focus of the festival is a questioning
of art and its appearance, materiality, objecthood, phenomenology, or their
negations or impossibilities, leading to an exploration of media in search
of itself as an appearing/disappearing form or questioning/rejecting it.

How can an artistic practice catch/reflect/express such a precarious
situation, an uncertain non-event, an immaterial/virtual moment, an
untimely, unsuitable intervention? And how can it challenge exhibition
models and force new ways of disseminating works?

We're also looking for projects and works exploring deviation, glitch, and
wobble; interventions in and hacking of the machination of time; reality
check and celebration of natural cycles alining systemic/conceptual cycles;
precarity as an unpredictable and insecure condition of a technology of
time and production affecting material/physical and social/psychological
welfare; a marginal and intermittent existence, short and discontinuous,
autonomous and freely self-inserted/-exploited/-realized/-precarizated;
untimely art, out of time, out of order, out of line, a defiant leap.


The Leap Second Festival is a distributed, decentralized event for art,
technology and precarity, coordinated on the net. This is the third
festival in the series. The festival is held on leap seconds announced by
IERS (International Earth Rotation and Reference Systems Service). The
previous festivals in 2015 and 2012 saw more than 100 works worldwide, from
split-second videos, audio and musical works, to conceptual- and
instructional art, network- and timespecific performances, and sculpture.
The festivals have support from the Arts Council Norway.

The Leap Second Festival 2012 and 2015 catalogues are available at
http://noemata.net/leapsec26/ and http://noemata.net/leapsec/

Deadline submission: 24.12.2016

Leap Second Festival 2016: 31th December 23:59:60 - 1st January 2017 00:00:00 (UTC)

Contact/Submit proposal: leapsec@noemata.net


Ars Publica/noemata - http://www.noemata.net
BrowserBased group - http://www.browserbased.org

[Link to this call: http://noemata.net/leapsec/2016/ ]

#nfcdab_2 – Lawn Enforcement


Lawn Enforcement is a section of the #nfcdab proposed and organized by BrowserBased to cheer on and partake in Dominik Podsiadly’s 2nd iteration of #nfcdab, a DIY biennale. Dominik P. is an active presence on the scene and has been a  member of BrowserBased on Facebook. But cooperations with Mr. P. also go way further than Facebook and take place IRL, too. (See: NFC biennales, Wroclaw; ADAF 2015, Athens; Yami-Ichi, Amsterdam and Bring Your Own B*, Amsterdam).

At the core of the DIY biennales are NFC and QR techs that provide and establish, as a figure of speech, access points in versatile contexts of urban settings such as vacant plots, forking paths in parks and commuter trams. The temporary as well as independent character of these biennales preserve and fertilize much valued informal channels for participating artists and audiences.

The planter signs we chose because they are just as easy to place as to take away and re-enforce an important aspect, in the #nfcdabs, of whimsy!


Cem Berendsen, Dave Hagen, Domenico Dom Barra, Dominik Podsiadly, Eltons Küns, Emilie Gervais, Florian Kuhlmann, Guido Segni, Jan Robert Leegte, Jeannot GrandLapin, Jonaas Westerlund, Joubin Zargarbashi, Julianne Aguilar, Karina Palosi, Laurus Edelbacher, Maaike Stutterheim, Maarten Schuurman, Philipp Teister, Rad0van Misovic, Tibor Horvath, Tobias Rothe, Wouter Smit, Zsolt Mesterhazy.

Opening: 5 – 7pm, 17.06.2016, Wyspa Słodowa, Wroclaw.


Lawn Enforcement – Location: HQ, Wroclaw – Day -2:

Lawn Enforcement – Location: Wyspa Słodowa, Wroclaw – Day 1:

Lawn Enforcement – Location: Uniwersytecka, Wrocław – Day 2 & + +:





Athens, Greece. Ever since the crisis set in, an exploding body of graffiti, marker writings, flyers and stickers has been crawling allover the city’s surfaces. One of the highly frequented places, as we found, is the eye-catching number of pay-phone booths left standing regardless of being defunct or vandalized. As telephony hops onto private mobile networks we observe how the booths recycled by the use of scratch, paste and pen. Parts of the withering public phone infrastructure become quizzical nodes of these new anarchic networks.

In their freshly assigned role, these pay-phones re-enter the city’s communication channels. They carry messages that range from political slogans to rhymes, from calls to street protests to religious quotes, from URLs of conspiracy theory videos to tags by local hooligan, all mingling with signs indecipherable (for most readers) with scrawls and smudges, and private messages, from romantic confessions to sexual services offered with names and mobile phone numbers. 69 is the prefix for commercial mobile networks in Greece which networks all work with real name bound accounts.

To get a closer look at these flows of messages, we documented these phone-booths in various parts of the city. The result was a series of over 800 photographs, which by their sheer number asked for some structure to be accessible. We proceeded by arranging the photos into categories using keywords, and grouped them accordingly in photo-galleries that correspond with geolocations on openstreetmaps. We have come to regard the ones of a sexual nature as mainly advertisements for the simple reason of the frequency of their re-occurence allover the city. A frequency that even a most frantic wrath would fall short of to write, if of a personal nature. Let’s pause for the dilemma of motivations here: Are they indeed advertisements or are they meant to be outing people with the names and numbers, in a form of hate speech?

Since phone numbers occur mostly accompanied by male names, we also looked at legal aspects of male prostitution, only to come to face that a contradiction concerning male sexwork can be found in Greek law. It makes the legality of male sexwork unclear. This may very well contribute to the reasons for this thread of handwritten phenomena, next to the difficult to imagine levels of poverty and exposedness. ( http://www2.keelpno.gr/blog/?p=4934&lang=en )

Any which way, we have decided to protect the writers and the characters as best as we could!

Step one:
We present the database only offline to lessen exposure to data mining or the scope of doxing. We serve 69.numbers.suck, locally, from an encrypted and modified wifi router that is toned down in range to limit wifi reception to the exhibition area.

Step two:
To have a recourse to the rule of law, even if weak, we copyrighted the database and the images to discourage unwanted reuse. Our landing page also asks all visitors to observe the issue.

The request on the landing page reads “69.numbers.suck” is presented as an offline collection to keep a measure of protection from data crunchers. BrowserBased Group kindly requests you to refrain from reproducing and putting online any of this material! Further, the image files, the database and the resulting tracks are there for the sole purpose of viewing. Any data extraction, disclosure, dissemination or copying of content is prohibited without the authors’ prior consent!

69.numbers.suck is a subjective overview and in no way is it all encompassing.



Thanks to http://2016.adaf.gr!
Thanks to the Stimuleringsfonds!


0,1 // assume both



0,1 // assume both
Does 0 mean off?
Does 1 mean yes?
// 011100110110111101110011

The nature of the real is disputable. Is the digital any different? Are they even separate?
Even though it is presumed that digital spaces are neatly organised – they are in fact as kludgy as the next space. Every slot has its own standard, every platform its own handle, every socket its own protocol. With “0,1 //assume both”, BrowserBased illustrates some of these ambiguities in a playful manner.

BrowserBased Group functions as a practice oriented, open research platform which deals with the browser based context and net-culture as a space for knowledge creation and dispersion. We organize live coding sessions, gatherings for guest speakers, workshops, international exhibitions and more.
Currently, the geo-marker of BrowserBased is set in Amsterdam, where the group was first formed from the need to organise a physical hub for the networked arts. We offer a platform for net art, maintain archives of recorded streams and our exhibitions and run an open page on Facebook. BrowserBased focusses on the progressive and dominant influence of the Internet, spurred on by the net being the central medium for communication, research, discourse, (re)presentation and art itself. Since we do not believe in geographical constraints and the governing academic conventions, we are constantly looking for collaboration with like minded, international communities.