History of Logo Editing
The Logo Editing Community (TLEC) has a large history of artistic and experimental-effects which made in possible with the audio effects like pitch, distortion, and more. Kyoobur9000 became the creator of this community, as well as other co-owners and administrators.
Logo editing is an experimental video remixing tradition where “users” alter video clips, or “sources,” using freeware and off-the-shelf editing software. Sources typically include production company idents, commercials, boot screens, logos of their own creation, and the like, that users edit, composite, colour time and combine with applied audio and video effects to produce some novel result. Logo editing extends out of a broader video meme making community on YouTube creating YTP (YouTube Poop) and YTPMVs (YouTube Poop music videos) which are short, stylized video edits usually intended to be funny or unsettling.
Inspired in the early 2010’s by YTP editors, including Patch93 and Commander Gwonam, Kyoobur defined a sphere of influence within the logo editing community with an inventiveness, inclusiveness, and elegant design-centric approach that established him as a power user in the space. To “see beyond the horizon,” as Kyoobur puts it, is to see beyond the givens of a piece of media. It’s a call to find something else in the source, by a remapping of memory or a new wrapping of affect, or simply to “enjoy the light on the screen and the sound coming out of your speakers.”
The north-facing wall contains Kyoobur’s channel logo history with all of their variations on a 60” flat screen monitor. Opposite that, across three 43” flat screens, are Kyoobur’s treatment of the 1998 Klasky Csupo ident, a reel of videos under the influence of his Diamond effect, and Kyoobur’s “revival season” consisting of recent works made to celebrate his 10th year anniversary on the YouTube platform. On a lone CRT display along the east-facing wall is a series of Kyoobur’s flips of the Windows OS boot screens entitled, “Giygosoft Wyndeaus,” a reference to the shapeless demon end boss of the 1989 Nintendo game EarthBound Beginnings. Kyoobur’s varied sources are subjected to dozens of unique effects— configurations that he’s branded with names like Kyoobavision, Night of the Living, Thoroughly Destroyed, Deep Major and D U H, among many others. And the results range from subtle audio harmonizing (DMA) to total abstraction (I Killed X) and to controlled maximalism (Comes Out to Show Them). In one edit, Kyoobur plays his 9K Hexametric 3-G Logo 2,859,599,056,870 times; in another, he applies every effect in Windows Live Movie Maker in alphabetical order to a clip from Disney’s Moana, then every effect in reverse alphabetical order for an alternate version; and for another, adds 50 layers of motion blur to the Warner Home Video ident. The work stress-tests its sources and software, and is beautiful, overstimulating, often funny, but always unswervingly systematic. Behind the scenes, Kyoobur moves in multiples and with a chemist’s precision. The design of his channel logos come out of the grid and into the raster. “My channel is the union of strict numerical thinking and kind of zany artistic fun,” says Kyoobur. “Fueled by a desire to merge history and technology,” he mixes old media with new tech, and his channel serves as a registry of more than a decade of general meme history, partly indexed by thumbnails that could frankly function as standalone artworks.
The Logo Editing Community has a similarity with The Kyoobur Company, except that some logo editors are in the same community, but in different logo-editing companies.
Benjamin Kaufold (Kyoobur9000) is known to have founded and started the community in one video. U-Man is known to be a co-founder but he joined YouTube earlier than Kyoobur9000, possibly making him the oldest logo editor by YouTube join date apparently in 2010s.
There are over 300 logo editors within the community. Most of them are of different ethnicity, usually from the United States, Russia, or other countries in Europe. Some logo editors are under the age of 12 and some over the age of 13. About 3-10% of logo editors are over the age of 18 and 89% of the entire logo edit community population have kept their account without getting banned or terminated.
Logo editing is a type of video art characterised by high-powered outputting that constantly teases the contours of intellectual property, attribution, and identity. Benjamin and his affiliates disavow ownership of nearly all of their work, often explicitly with on-screen titling that reads “All Content Belongs to Everyone,” “I Own Nothing,” or Kyoobur9000’s own “Universal Disclaimer in Poem Form” that advertises that “all the 9K logos are the only things from me!” Such disavowals, of course, are more symbolic than effective so editors still strike forward, change their names, make back-up pages, and syndicate each other’s content in service of the community and continuity— as much as a creative practice as an evasionary tactic. And for this we’re thankful, preserving a phenomenon that is enthralling both in itself and for what it tells us about the broader reaches of contemporary hyper culture.
Logo editing is an experimental video remixing tradition where “users” alter video clips, or “sources,” using freeware and off-the-shelf editing software. Sources typically include production company idents, commercials, boot screens, logos of their own creation, and the like, that users edit, composite, colour time and combine with applied audio and video effects to produce some novel result. Logo editing extends out of a broader video meme making community on YouTube creating YTP (YouTube Poop) and YTPMVs (YouTube Poop music videos) which are short, stylized video edits usually intended to be funny or unsettling.
Inspired in the early 2010’s by YTP editors, including Patch93 and Commander Gwonam, Kyoobur defined a sphere of influence within the logo editing community with an inventiveness, inclusiveness, and elegant design-centric approach that established him as a power user in the space. To “see beyond the horizon,” as Kyoobur puts it, is to see beyond the givens of a piece of media. It’s a call to find something else in the source, by a remapping of memory or a new wrapping of affect, or simply to “enjoy the light on the screen and the sound coming out of your speakers.”
The north-facing wall contains Kyoobur’s channel logo history with all of their variations on a 60” flat screen monitor. Opposite that, across three 43” flat screens, are Kyoobur’s treatment of the 1998 Klasky Csupo ident, a reel of videos under the influence of his Diamond effect, and Kyoobur’s “revival season” consisting of recent works made to celebrate his 10th year anniversary on the YouTube platform. On a lone CRT display along the east-facing wall is a series of Kyoobur’s flips of the Windows OS boot screens entitled, “Giygosoft Wyndeaus,” a reference to the shapeless demon end boss of the 1989 Nintendo game EarthBound Beginnings. Kyoobur’s varied sources are subjected to dozens of unique effects— configurations that he’s branded with names like Kyoobavision, Night of the Living, Thoroughly Destroyed, Deep Major and D U H, among many others. And the results range from subtle audio harmonizing (DMA) to total abstraction (I Killed X) and to controlled maximalism (Comes Out to Show Them). In one edit, Kyoobur plays his 9K Hexametric 3-G Logo 2,859,599,056,870 times; in another, he applies every effect in Windows Live Movie Maker in alphabetical order to a clip from Disney’s Moana, then every effect in reverse alphabetical order for an alternate version; and for another, adds 50 layers of motion blur to the Warner Home Video ident. The work stress-tests its sources and software, and is beautiful, overstimulating, often funny, but always unswervingly systematic. Behind the scenes, Kyoobur moves in multiples and with a chemist’s precision. The design of his channel logos come out of the grid and into the raster. “My channel is the union of strict numerical thinking and kind of zany artistic fun,” says Kyoobur. “Fueled by a desire to merge history and technology,” he mixes old media with new tech, and his channel serves as a registry of more than a decade of general meme history, partly indexed by thumbnails that could frankly function as standalone artworks.
The Logo Editing Community has a similarity with The Kyoobur Company, except that some logo editors are in the same community, but in different logo-editing companies.
Benjamin Kaufold (Kyoobur9000) is known to have founded and started the community in one video. U-Man is known to be a co-founder but he joined YouTube earlier than Kyoobur9000, possibly making him the oldest logo editor by YouTube join date apparently in 2010s.
There are over 300 logo editors within the community. Most of them are of different ethnicity, usually from the United States, Russia, or other countries in Europe. Some logo editors are under the age of 12 and some over the age of 13. About 3-10% of logo editors are over the age of 18 and 89% of the entire logo edit community population have kept their account without getting banned or terminated.
Logo editing is a type of video art characterised by high-powered outputting that constantly teases the contours of intellectual property, attribution, and identity. Benjamin and his affiliates disavow ownership of nearly all of their work, often explicitly with on-screen titling that reads “All Content Belongs to Everyone,” “I Own Nothing,” or Kyoobur9000’s own “Universal Disclaimer in Poem Form” that advertises that “all the 9K logos are the only things from me!” Such disavowals, of course, are more symbolic than effective so editors still strike forward, change their names, make back-up pages, and syndicate each other’s content in service of the community and continuity— as much as a creative practice as an evasionary tactic. And for this we’re thankful, preserving a phenomenon that is enthralling both in itself and for what it tells us about the broader reaches of contemporary hyper culture.